The Painted Book in Renaissance Italy: 1450–1600
A comprehensive survey examining the vibrant and sumptuous art of illumination during a period of profound intellectual and cultural transformation Hand-painted illumination enlivened the burgeoning culture of the book in the Italian Renaissance, spanning the momentous shift from manuscript production to print. This major survey, by a leading authority on medieval and renaissance book illumination, gives the first comprehensive account in English of an immensely creative and relatively little-studied art form. Jonathan J. G. Alexander describes key illuminated manuscripts and printed books from the period and explores the social and material worlds in which they were produced. Renaissance humanism encouraged wealthy members of the laity to join the clergy as readers and book collectors. Illuminators responded to patrons’ developing interest in classical motifs, and celebrated artists such as Mantegna and Perugino occasionally worked as illuminators. Italian illuminated books found patronage across Europe, their dispersion hastened by the French invasion of Italy at the end of the 15th century. Richly illustrated, The Painted Book in Renaissance Italy is essential reading for all scholars and students of Renaissance art.
About the Author
Jonathan J. G. Alexander is Sherman Fairchild Professor Emeritus of Fine Arts at the Institute of Fine Arts, New York.
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In this volume, CHINESE FINE ARTS, we take you to a distinguished gallery featuring Chinese Fine arts developed over thousands of years. Chinese calligraphy, painting, music, dance, theatre and sculpture are different mediums used by uninhibited artists to convey both the beautiful and grotesque of Chinese society. From the works of art complied in this book, you can learn about China’s interaction with her neighbours, political tussels in the Imperial Court and the psyche of the ordinary folk.
The mental state of Vincent van Gogh (1853–1890) has been a perennial source of discussion and conjecture since his death by suicide. Was he mentally ill or a genius? What was the precise nature of Van Gogh’s illness? Did it influence his work? This intriguing publication examines how Van Gogh’s mental condition revealed itself in 1888 and how he struggled with it throughout his life. Van Gogh’s letters to his brother Theo, his artist friends, and his sister Willemien reveal that his primary reason for living was his art. Richly illustrated with artworks, letters, historical documents, and photographs, On the Verge of Insanity provides a nuanced and considered overview of an extraordinary man who had to cope with mental illness at a time when the symptoms were readily misunderstood and professional treatment was insufficient. The authors also offer a detailed account of the circumstances surrounding Van Gogh’s death in Auvers-sur-Oise, and they review the many diagnoses that have been proposed since the artist’s death.
About the Author
Louis van Tilborgh is senior researcher at the Van Gogh Museum and professor of art history, University of Amsterdam. Nienke Bakker is curator of Van Gogh Paintings, Teio Meedendorp is senior researcher, and Laura Prins is assistant researcher, all at the Van Gogh Museum.
Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930–2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by other contemporary artists, among them Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg. For Warhol Marilyn, Sturtevant used one of Warhol’s own silkscreens from his series of Marilyn printed multiples. (When asked how he made his silkscreened work, Warhol famously answered, “I don’t know. Ask Elaine.”) In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork. Lee describes the cognitive dissonance a viewer might feel on learning the identity of Warhol Marilyn’s author, and explains that mistaken identity is part of Sturtevant’s intention for the operation of the work. She discusses the ways that Sturtevant’s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber’s shooting a bullet through a stack of Warhol’s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant’s decision to remake the work. Lee writes that Sturtevant’s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges’s “Pierre Menard, Author of the Quixote,” who recreates a section of Cervantes’s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant’s work as illuminating her broader artistic aims and principles.
About the Author
Patricia Lee is a writer, lecturer, and scholar of contemporary art.
About the Author
Thomas Vogel specializes in creativity and creative thinking, strategic communication, experience design and branding on the Internet. Formerly a Professor of Media Design at the Department of Media Management at the University of Applied Sciences Wiesbaden, Germany, he now teaches courses in creativity and creative thinking and directs the masters program in Global Marketing Communication and Advertising at Emerson College. He is a creativity consultant and a founding partner of mediaman, a digital marketing agency.