Romantisch

Including more than 6,000 titles, the bibliography represents the full spectrum of research on the life and work of the Baroque architects Johann Bernhard and Joseph Emanuel Fischer von Erlach. The first bibliography on Fischer von Erlach, published over 35 years ago, has now been more than tripled in size; it is arranged thematically and chronologically and also includes contributions of a more general nature on Austrian Baroque architecture. For the first time, both beginners and experts are thus provided with an important aid to research. The bibliography is supplemented by a volume of essays bringing together Andreas Kreul's older and more recent writing on Fischer von Erlach. Look inside - Baroque architecture, Karlskirche in Vienna, Kollegienkirche in Salzburg, State Hall of the Court Library, Fischer von Erlach's drawings in Zagreb - Albert Ilg - English Baroque, reception of his work

Eine kunsthistorisch relevante, noch dazu innovative Fragestellung ausgehend von einem zentralen Objekt zu entwickeln, ist eine komplexe Angelegenheit. Mit jeder fokussierten Betrachtung erschließt sich nicht nur Fachwissen, sondern es eröffnet sich zugleich der intensive Einblick in ein lebendiges Stück Kunstgeschichte. In diesem Spannungsfeld vereint der vorliegende Band über 40 Beiträge internationaler Autorinnen und Autoren, die in konzertierter Form Objekte der Frankfurter Sammlungen aus dem Städel Museum und der Liebieghaus Skulpturensammlung mit verschiedenen methodischen Ansätzen einer Analyse unterziehen. An in ihrem Facettenreichtum kaleidoskopartig ausgebreiteten Werken vom Mittelalter bis in die Gegenwart werden Einzelfragen entwickelt und pointierte Kunstgeschichte(n) erzählt. Jochen Sander, der mit beiden Sammlungen eng verbunden ist, hat die objektzentrierte Forschung in zahlreichen Publikationen vorangetrieben und methodisch neue Wege beschritten. Ihm ist dieses Buch gewidmet. Künstler-/innen: Max Beckmann, Sebald Beham, Gerrit Berckheyde, Mary Ellen Best, Jan de Bisschop, Arnold Böcklin, Gustave Courbet, Carlo Crivelli, Gerard David, Albrecht Dürer, Adam Elsheimer, Conrad Faber von Kreuznach, Georg Flegel, Hugo van der Goes, Pieter Janssens Elinga, Jan Kupezky, Quentin Massys, Alexander McQueen, Michiel van Mierevelt, Johann Ludwig Ernst Morgenstern, Giovanni Battista Moroni, Hans Multscher, Walter Pichler, Rembrandt van Rijn, Peter Roehr, Peter Paul Rubens, Roelant Savery, Daniel Soreau, Johann Heinrich Tischbein d. Ä., Werner Tübke, Rogier van der Weyden Highlights aus der Sammlung des Städel Museums und der Liebieghaus Skulpturensammlung vom Mittelalter bis in die Gegenwart

Nuovi orizzonti si sono affacciati nello studio e approccio all¿opera d¿arte. Un innovativo metodo d¿indagine, risultato di circa quindici anni di ricerche scientifiche, contribuisce nell¿esame della Pietà vaticana di Michelangelo Buonarroti. Il volume raccoglie gli studi scientifici svolti da Luciano Buso nell¿arco di circa 12 anni, scoperti i "segreti" nella Pietà vaticana. La parte più importante la fanno i volti semi celati di proposito dall¿artista rinascimentale durante l¿esecuzione, i quali ci tramandano "sentimenti velati" sapientemente ideati con lo scopo di dare un maggiore e silente accento emotivo al già forte impatto della celebre scultura. Pietà in facciata, ma anche semi nascosta. Das Urheberrecht an bibliographischen und produktbeschreibenden Daten und an den bereitgestellten Bildern liegt bei Informazioni Editoriali, I.E. S.r.l., oder beim Herausgeber oder demjenigen, der die Genehmigung erteilt hat. Alle Rechte vorbehalten.

Was ist Kunst? Was leistet Kunst? Warum bewegt uns Kunst? Und warum kommt ästhetischen Fragestellungen gerade heute wieder eine besondere Relevanz zu? Diesen Fragen geht der seit 2019 von der DFG eingerichtete Tübinger Sonderforschungsbereich 1391 Andere Ästhetik nach. Dabei möchte er die historische Tiefenschicht eines Perspektivwechsels aufarbeiten, der sich darauf richtet, Kunst und Künste nicht in autonomen Sonderräumen zu situieren. Hierfür bringt das Forschungsprojekt die 2000-jährige europäische Kunst- und Kulturgeschichte vor dem 18. Jahrhundert neu in Anschlag. Der Band erläutert, worin der Gewinn der Konzentration auf die Vormoderne besteht, welche Neujustierung der Analyseinstrumentarien damit verbunden ist und welche grundsätzlichen Konsequenzen für Fragen der Ästhetik sich hieraus ergeben. Die Beiträge, die von den Philologien über die Kunstgeschichte, Archäologie und Musikwissenschaft bis hin zur Geschichtswissenschaft, Theologie und den Digital Humanities reichen, bieten hierfür konkrete Beispiele. Ziel ist es, von den ästhetischen Reflexionen der Vormoderne aus Impulse auch und gerade für die Diskussionen in der Gegenwart zu gewinnen. Der Band rückt Fragen der Ästhetik in neuer Weise von der Vormoderne aus in den Blick bietet gegenüber autonomieästhetisch orientierten heuristischen Ansätzen eine grundlegende Alternative an profiliert einen Perspektivwechsel mit interdisziplinärem Gewinn

What ties western art together? This extended essay attempts to distill some of the basic ideas with which artists and observers of their art have grappled, ideas worthy of ongoing consideration and debate. The fostering of visual creativity as it has morphed from ancient Greece to the present day, the political and economic forces underpinning the commissioning and displacement of art, and the ways in which contemporary art relates to past periods of art history (and in particular, the Renaissance), are among the topics broached. Architecture, drawings, prints, films, painting, sculpture, and decorative arts from Europe and the US are considered and examined, often including nonstandard examples, occasionally including ones from the immediate surroundings of the author (who is based in New England). Although this book is primarily geared to those who would like a brief introduction to some basic aspects of a visual tradition spanning thousands of years, students of aesthetics might also discover useful benchmarks in this concise overview. The author places the emphasis on how art has been used and loved (or sometimes despised or ignored) more than on which works should be most famous.

Hailed by his contemporaries as "the divine painter," Raphael Sanzio of Urbino ( 1483-1520) was one of the greatest artists of the Italian Renaissance. A contemporary of Michelangelo and Leonardo Da Vinci, Raphael was sought out by popes, kings and aristocrats to decorate their residences.Michael Collins' new biography, Raphael's World, portrays the era in which the divine painter lived. Born thirty years after the invention of the printing press and nine years before the discovery of the New World, Raphael harnessed the new techniques of printing and the riches which flowed from the Americas into Europe in the early 16th century. The political map of Europe was changing as Raphael painted for his wealthy patrons. Pope Julius II commissioned him to decorated his apartments at the Vatican while Pope Leo X appointed him architect of the new St. Peter's which replaced the 1000 year old Constaintinian basilica. While Raphael painted the Apostolic Palace and designed tapestries to be hung in the Sistine Chapel, a German friar, Martin Luther was about to rend Christendom apart.Raphael's World brings the reader into the ducal court of Urbino, and follows the young Raphael to Perugia where he studied in the studio of Perugino, to Florence where he saw Michaelangelo and Da Vinci at work, to Rome where he painted for popes and cardinals, as well as Agostino Chigi, one of the wealthiest patrons of the day.Based on contemporary documentation, Raphael's World explores the complex era in which the artist flourished and introduces the reader to the fascinating panoply of patrons. This is a large format book full of colour reproductions of the artist's work and other events of that era. The 500th anniversary of the death of Raphael occurred on 6 April 2020.

'Quid est sacramentum?' Visual Representation of Sacred Mysteries in Early Modern Europe, 1400-1700 investigates how sacred mysteries (in Latin, sacramenta or mysteria) were visualized in a wide range of media, including illustrated religious literature such as catechisms, prayerbooks, meditative treatises, and emblem books, produced in Italy, France, and the Low Countries between ca. 1500 and 1700. The contributors ask why the mysteries of faith and, in particular, sacramental mysteries were construed as amenable to processes of representation and figuration, and why the resultant images were thought capable of engaging mortal eyes, minds, and hearts. Mysteries by their very nature appeal to the spirit, rather than to sense or reason, since they operate beyond the limitations of the human faculties; and yet, the visual and literary arts served as vehicles for the dissemination of these mysteries and for prompting reflection upon them. Contributors: David Areford, AnnMarie Micikas Bridges, Mette Birkedal Bruun, James Clifton, Anna Dlabačková, Wim François, Robert Kendrick, Aiden Kumler, Noria Litaker, Walter S. Melion, Lars Cyril Nørgaard, Elizabeth Pastan, Donna Sadler, Alexa Sand, Tanya Tiffany, Lee Palmer Wandel, Geert Warner, Bronwen Wilson, and Elliott Wise.

Forget everything you thought you knew about Mona Lisa. Leonardo da Vinci actually called the painting Envy. And he hid clues in the art that reference a scene from Dante Alighieri’s The Divine Comedy.<BR>Centuries have passed before artist Ron Piccirillo is the first to discover this, along with the secret symbols of animal heads in Leonardo’s art. Having felt as though something was missing from his life, Piccirillo suddenly feels destined to figure out the actual identity of the woman and the reason for her smile in the painting he is sure has been incorrectly called Mona Lisa—a painting that will change his life forever. Guided by Leonardo’s clues and Dante’s writings, Piccirillo learns how to see the real truth hiding below the surface—not only in famous artworks, but in his own life.<BR>In 2011, Piccirillo’s story appeared on The Today Show and news outlets all over the world when he began to crack the mysteries behind Leonardo’s puzzling masterpiece. Since then, he’s made many new discoveries, which he has kept secret until now. His book, Solving Mona Lisa, will forever change how art and classic literature is looked at and studied. But when it comes to Renaissance art from artists like Michelangelo and Leonardo, nothing is ever what it seems.<BR>This version contains color images.

Part of a series of exciting and luxurious Flame Tree Sketch Books Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. The thick paper stock makes them perfect for sketching and drawing. These are perfect for personal use and make a dazzling gift. This example features Michelangelo: Creation Hands.

Utilizing written sources from Francis of Assisi and his contemporaries, Francis of Assisi: A Meditation on His Life and Writings invites readers into a vibrant meditation on the life of St. Francis, with a focus on his prayer and eucharistic devotion. The book moves readers beyond common sentimental approaches to Francis and toward a richer appreciation of the saint who received the stigmata.Endorsements"A treasure trove of reflections, this book offers a unique vantage point on the enduring gospel legacy of Francis. Each page's penetrating insights invite readers to live the spirit that impelled Francis of Assisi."<BR>--Regis J. Armstrong, OFM Cap, emeritus professor of theology and religious studies, The Catholic University of America"This is a joyful, hopeful book with Christ at its very center, a Christ who, in loving us, transforms each one of us. In reading this book, my reading became a prayer."<BR>--Murray Bodo, OFM, author of Francis: The Journey and the Dream"In an accessible, prayerful way, Benson integrates new materials on the saint's life and writings. He opens new doors to enter the gospel vision within the heart of Saint Francis."<BR>--Wayne Hellmann, OFM Conv., professor emeritus, Saint Louis University, St. Louis, MOJoshua C. Benson is associate professor of historical and systematic theology at The Catholic University of America, where he has taught since 2008. A scholar and popular teacher, he also publishes and lectures on Franciscan figures and their influence.<BR>+

Ovunque posasse lo sguardo, Leonardo agiva unicamente per illuminare di appassionata conoscenza l'oggetto della propria attenzione. Quello che egli definiva esperienza era un processo che aveva inizio nell'occhio e proseguiva nel disegno e nella pittura. Queste due attività erano concepite e praticate in continuità l'una con l'altra, come due fasi di un'unica indagine incentrata sulle insuperabili attività del proprio occhio. Un occhio insaziabile, perennemente focalizzato sulle forme infinite e sugli ineffabili fenomeni che la natura gli proponeva di osservare, figurare e descrivere. Questo libro sottolinea la modernità dello sguardo leonardesco, e documenta in tutte le sue declinazioni l'insaziabile curiosità e desiderio di onniveggenza del grande artista e scienziato, derivati dall'insofferenza per la vaghezza della percezione ordinaria e, di converso, dalla consapevolezza dell'impossibilità di vedere per intero una cosa e di accedere ai segreti ultimi della sua natura interna. Lo sfumato sarà dunque lo spazio fluido attraversato da indeterminabili passaggi dalla luce alle tenebre, nel quale si inverano continue fusioni del finito con l'infinito, del visibile con l'invisibile, del singolare con l'universale, che rivendicano all'occhio l'esercizio di uno sguardo altrettanto infinito.

23:B&W 6 x 9 in or 229 x 152 mm Perfect Bound on White w/Gloss Lam