To most of his contemporaries Blake seemed merely an eccentric, and his genius was not generally recognized until the second half of the 19th century.
Remington was the most successful Western illustrator in the “Golden Age” of illustration at the end of the 19th Century and the beginning of the 20th Century, so much so that the other Western artists such as Charles Russell and Charles Schreyvogel were known during Remington’s life as members of the “School of Remington”. His style was naturalistic, sometimes impressionistic, and usually veered away from the ethnographic realism of earlier Western artists. His focus was firmly on the people and animals of the West, with landscape usually of secondary importance, unlike the members and descendants of the Hudson River School. He took artistic liberties in his depictions of human action, and for the sake of his readers’ and publishers’ interest. Though always confident in his subject matter, Remington was less sure about his colors, and critics often harped on his palette, but his lack of confidence drove him to experiment and produce a great variety of effects, some very true to nature and some imagined.
Burne-Jones's aim in art is best given in some of his own words, written to a friend:
"I mean by a picture a beautiful, romantic dream of something that never was, never will be - in a light better than any light that ever shone - in a land no one can define or remember, only desire - and the forms divinely beautiful - and then I wake up, with the waking of Brynhild."
He considered that art should be valued as an object of beauty engendering a sensual response, rather than for the story or moral implicit in the subject matter. In many ways this was antithetical to the ideals of Ruskin and the early Pre-Raphaelites. Insofar as this was directed against the lack of realism in his pictures, it was beside the point. The earth, the sky, the rocks, the trees, the men and women of Burne-Jones are not those of this world; but they are themselves a world, consistent with itself, and having therefore its own reality. Yet it is a dreamer always whose nature penetrates these works.
The artist was Caravaggio, a master of the Italian Baroque. He was a genius, a revolutionary painter, and a man beset by personal demons. Four hundred years ago, he drank and brawled in the taverns and streets of Rome, moving from one rooming house to another, constantly in and out of jail, all the while painting works of transcendent emotional and visual power. He rose from obscurity to fame and wealth, but success didn’t alter his violent temperament. His rage finally led him to commit murder, forcing him to flee Rome a hunted man. He died young, alone, and under strange circumstances.
Caravaggio scholars estimate that between sixty and eighty of his works are in existence today. Many others–no one knows the precise number–have been lost to time. Somewhere, surely, a masterpiece lies forgotten in a storeroom, or in a small parish church, or hanging above a fireplace, mistaken for a mere copy.
Prizewinning author Jonathan Harr embarks on an spellbinding journey to discover the long-lost painting known as The Taking of Christ–its mysterious fate and the circumstances of its disappearance have captivated Caravaggio devotees for years. After Francesca Cappelletti stumbles across a clue in that dusty archive, she tracks the painting across a continent and hundreds of years of history. But it is not until she meets Sergio Benedetti, an art restorer working in Ireland, that she finally manages to assemble all the pieces of the puzzle.
Told with consummate skill by the writer of the bestselling, award-winning A Civil Action, The Lost Painting is a remarkable synthesis of history and detective story. The fascinating details of Caravaggio’s strange, turbulent career and the astonishing beauty of his work come to life in these pages. Harr’s account is not unlike a Caravaggio painting: vivid, deftly wrought, and enthralling.
". . . Jonathan Harr has gone to the trouble of writing what will probably be a bestseller . . . rich and wonderful. . .in truth, the book reads better than a thriller because, unlike a lot of best-selling nonfiction authors who write in a more or less novelistic vein (Harr's previous book, A Civil Action, was made into a John Travolta movie), Harr doesn't plump up hi tale. He almost never foreshadows, doesn't implausibly reconstruct entire conversations and rarely throws in litanies of clearly conjectured or imagined details just for color's sake. . .if you're a sucker for Rome, and for dusk. . .[you'll] enjoy Harr's more clearly reported details about life in the city, as when--one of my favorite moments in the whole book--Francesca and another young colleague try to calm their nerves before a crucial meeting with a forbidding professor by eating gelato. And who wouldn't in Italy? The pleasures of travelogue here are incidental but not inconsiderable." --The New York Times Book Review
"Jonathan Harr has taken the story of the lost painting, and woven from it a deeply moving narrative about history, art and taste--and about the greed, envy, covetousness and professional jealousy of people who fall prey to obsession. It is as perfect a work of narrative nonfiction as you could ever hope to read." --The Economist
From the Hardcover edition.
Klimt's talent and brilliance as a draughtsman, however, was widely recognized only after Klimt's death. During his lifetime, he hardly sold a drawing nor did he exhibit them.
Rackham's career coincided with the era known as the Golden Age of Illustration, an age that witnessed the rise of increasingly sophisticated color printing techniques. His interpretation of A Midsummer Night's Dream, which first appeared in 1908, received the full benefit of the improved technology, and this faithful reprint offers a quality of printing and sharpness of reproduction that rivals the limited and first editions. The complete text of the play appears here, along with 40 full-color and numerous black-and-white illustrations — a splendid tribute by a master of fantasy art to an immortal play.
Monet and Renoir are renowned for their Impressionistic works and Van Gogh for his intense Post-Impressionistic style which set the foundation for Fauvism.
This publication contains selected images from each of the three artists.
From the best-selling author of Sexual Personae and Break, Blow, Burn and one of our most acclaimed cultural critics, here is an enthralling journey through Western art’s defining moments, from the ancient Egyptian tomb of Queen Nefertari to George Lucas’s volcano planet duel in Revenge of the Sith.
America’s premier intellectual provocateur returns to the subject that brought her fame, the great themes of Western art. Passionately argued, brilliantly written, and filled with Paglia’s trademark audacity, Glittering Images takes us on a tour through more than two dozen seminal images, some famous and some obscure or unknown—paintings, sculptures, architectural styles, performance pieces, and digital art that have defined and transformed our visual world. She combines close analysis with background information that situates each artist and image within its historical context—from the stone idols of the Cyclades to an elegant French rococo interior to Jackson Pollock’s abstract Green Silver to Renée Cox’s daring performance piece Chillin’ with Liberty. And in a stunning conclusion, she declares that the avant-garde tradition is dead and that digital pioneer George Lucas is the world’s greatest living artist. Written with energy, erudition, and wit, Glittering Images is destined to change the way we think about our high-tech visual environment.
From the Hardcover edition.