The exciting rediscovery in Spain of a missing canvas by Pieter Bruegel the Elder (ca. 1525-69) has jolted a revived public awareness of this great Flemish painter. Best known for his amusing depictions of peasants, landscapes, and Bosch-like fantasies, Bruegel also created a wide range of highly original interpretations of religious themes in an era marked by religious controversies. Over a career of two decades as both a printmaker and a painter, he found his artistic niche in Europe's leading center of international trade, the emerging "capital of capitalism," Antwerp.
This new full-length study examines all works by Pieter Bruegel, including the new Madrid canvas, within the wider setting of art during his lifetime. All of his drawings, prints, and paintings on both canvas and panel are examined for form and content with comprehensive analysis. In addition, interpretation of the full range of Flemish paintings and prints during his generation is presented through the lens of Hieronymus Cock, Bruegel's own print publisher, "At the Sign of the Four Winds." Within this spectrum Bruegel's uniqueness and mastery emerges clearly.
While scholars will appreciate the novel insights of this comprehensive re-examination of Pieter Bruegel, its highly accessible text will introduce newcomers and the general public to the delights of this inventive, trenchant, yet often amusing visual commentator on the human condition. All readers will relish the large-scale reproductions and frequent details in full color of his entire oeuvre in all media. This handsome, large-scale volume will form the definitive study and accessible introduction to the life and art of Pieter Bruegel.
A compelling anthology of photojournalism from the nineteenth century to the present, profiling fifty–four masters of the field and reproducing their most stirring images. Featuring well over 200 memorable photographs. Ever since Roger Fenton inaugurated the genre by photographing the Crimean War in 1855, the worlds great photojournalists have used a variety of approaches to bear witness to their times. At one end of the photojournalistic spectrum are war photographers like Robert Capa and Larry Burrows, who capture the most extreme events of human existence as they happen; at the other are social documentarians like Lewis Hine and Sebastião Salgado, who step back from the single dramatic incident to cover in depth such economic and cultural issues as labor and migration. By compiling 250 of the most memorable images from photojournalism’s 150–year history, Photojournalism 1855 to the Present: Editor’s Choice provides a fascinating introduction to the entire range of the field. Author Reuel Golden, a noted authority on photojournalism, selected the fifty–four photographers featured in this book based on their critical reputations and historical importance. For each photographer, Golden provides a portfolio of representative images—many reproduced at full-page size—as well as a brief biography and an insightful critical commentary on his or her career. In these commentaries and in his informative introduction, Golden discusses the particular challenges of photojournalism, such as the relationship between photographer and subject, and the moral ramifications of aestheticizing human suffering. Yet perhaps most importantly, his text also encourages the reader to look closer and discover how well the photographs speak for themselves. From Frank Hurley’s groundbreaking World War I battlefield shots to Mary Ellen Mark’s stark portraits of American poverty and James Nachtwey’s haunting pictures of the September 11 attacks, the images in this book prove that even in our era of twenty–four–hour video–on demand, the still photograph remains as powerful as ever.
In fifteenth-century Florence and Flanders, painters were using an arsenal of new techniques—including perspective, anatomy, and the accurate treatment of light and shade—to present traditional religious subjects with an unprecedented immediacy and emotional power. Their art was the product of a shared Christian culture, and their patrons included not only nobles and churchmen but also the middle classes of these thriving commercial centers.
Shirley Neilsen Blum offers a new synthesis of this remarkable period in Western art—between the refinements of the Gothic and the classicism of the High Renaissance—when the mystical was made to seem real. In the first part of her text, Blum traces the emergence of a new naturalism in the sculpture of Claus Sluter and Donatello, and then in the painting of Van Eyck and Masaccio. In the second part, she compares scenes from the Infancy and Passion of Christ as rendered by artists from North and South. Exploring both the images themselves and the theological concepts that lie behind them, she re-creates, as far as possible, the experience of the contemporary fifteenth-century viewer.
Abundantly illustrated with color plates of masterworks by Fra Angelico, Botticelli, Rogier van der Weyden, and others, this thought-provoking volume will appeal equally to general readers and students of art history.
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