Penny Nicholas Haskell Francis (22 results)

Trade Paperback. Condition: Used - Good. The bold and unusual religious paintings of the Spanish artist El Greco (c. 1541-1614) have aroused widespread interest and wonder, yet little has been known about the artist's patrons. This is a comprehensive study of the several individuals who financed, encouraged and influenced El Greco's extraordinary artistic endeavours. Mann reconstructs the lives of several of the artist's patrons and demonstrates how El Greco's pictorial ensemble reflected the patrons' concerns. Thus the actual context of El Greco's work is established. The book indicates that the artist's patrons helped to shape both the style and iconography of the paintings, and clarifies the precise nature of the connection between the paintings and Spanish mysticism. In studying the purposes and meaning of El Greco's religious paintings, the author thereby provides the basis for an alternative interpretation of the artist's work and presents many insights into life in sixteenth-century Spain. Mann presents an alternative interpretation of El Greco's work and presents many insights into life in sixteenth-century Spain. Slight scratching/scuffing on cover. Book has minor shelf wear.

Paperback. Condition: Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority!

xiv 82 pages. 15 black and white illustrations. Wrappers 23.5x18.5cms. ISBN: 0900090839. Text in English.

Erste Ausgabe. 20,5 x 26 cm. Erste Auflage, 376 S. Originalpappband. Sprache: Englisch, Reich illustriert. Leichte Lagerspuren, noch gut. Hinweis: Versandkosten müssen bei Auslandsversand evtl. angehoben werden.

Hardcover. Condition: Used - Like New. For over thirty years, Sir Richard Westmacott was the leading official sculptor of his generation. Yet, despite his pivotal role in the British art world, he has never been the subject of extensive examination. This book traces Westmacott's rise to fame and looks at all aspects of his distinguished career. Westmacott won many of the most prestigious commissions of the day, including monuments for Lord Nelson, George III, Charles James Fox and William Pitt, and sculpture for such discriminating collectors as the third Earl of Egremont and the sixth Duke of Bedford. Westmacott's works display many affinities with the classical style, yet they also reveal the rich diversity of style and imagery which is characteristic of sculpture of the nineteenth century. The first full-length study of the nineteenth-century sculptor Sir Richard Westmacott.

Hardcover. Condition: Used - Good. Slight scratching/scuffing on cover. Interior pages in very nice condition. Book has minor to mild shelf wear along spine/binding.

1684 pages, 186 black & white illustrations, 1592 colour illustrations. Hardback 28 x 22cms. ISBN: 9781909400252. Text in English.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. Hardcover in dust jacket. 167 pages: illustrations. No marks or writing in book. Light signs of handling to book and dust jacket. Laid-in at front of book is an off-print of the 6-page article on fifteenth century bronze sculpture by Nicholas Penny, warmly inscribed and signed by the author. Multilingual text. The essays are published in the languages of their writers. Profusely illustrated. Inscribed by Author(s).

Madrid 1990. Enc. Tapa dura editorial con sobrecubierta. Ilustraciones. 26,5x19,5. 406 pp. GASTOS DE ENVIO GRATIS HASTA 500 GRS. DE PESO POR PAQUETE SIN NUMERO DE SEGUIMIENTO. PARA OTRAS FORMAS DE ENVIO LEA CONDICIONES.

hardcovers, 3 vols, 1684 pages, Size:220 x 280 mm, Illustrations:186 b/w, 1592 col. Language(s): English.*NEW* ISBN 9781909400252. For several hundred years, until about 1900, a limited number of antique sculptures were as much admired as are the Mona Lisa, Botticelli's Birth of Venus or Michelangelo's David today. They were reproduced in marble, bronze and lead, as plaster casts in academies and art schools, as porcelain figurines for chimneypieces and as cameos for bracelets and snuffboxes. They were celebrated by poets from Du Bellay and Marino to Byron and D?Annunzio, and memorably evoked by novelists as diverse as Marcel Proust and Nathaniel Hawthorne, George Eliot and Charles Dickens. Copies of some of these statues can be seen at Pavlosk and Madrid, at Stourhead, Charlottenburg, Malibu and Versailles, and in countless gardens, houses and museums throughout the world. How and when did these particular sculptures achieve such a special status? Who were the collectors, restorers, dealers, artists, dilettanti, scholars and archaeologists who created their reputations? Under what names (often wildly fanciful) did they first become famous? How were they interpreted, and how and when and why did their glamour begin to wane? These are some of the problems that are confronted in Taste and the Antique. Taste and the Antique has become a classic of art history since its original publication in 1981. This revised and amplified edition significantly updates the information based on new research undertaken in the last several decades, as well as expanding examples of the reception and influence of these works by artists and collectors from the Renaissance through to contemporary art. The original edition has been expanded into three volumes: Volume 1 is a revised and amplified version of the 1981 edition. Fifteen chapters trace in narrative form, with the support of a wide variety of plates, the rise and decline of this highly important episode in the history of taste. These chapters are followed by catalogue entries for 95 of the most celebrated sculptures, all of them illustrated, which provide information on when and where they were discovered, changes of ownership and nomenclature, as well as a record of varying critical fortunes designed to complement the more general discussion in the earlier chapters. Volume 2 contains especially commissioned new photography of over 90 statues catalogued in Volume 1. Volume 3 is entirely devoted to a visual survey of the full range of replicas and adaptations of the works catalogued and illustrated in the previous volumes. The book is indispensable for historians of taste, and to art historians concerned with the debt owed by numerous artists from the Renaissance onwards to the art of ancient Greece and Rome; and it is also of great value to students and collectors of the many surviving copies of the sculptures discussed. TABLE OF CONTENTS Volume I: Text Preface to the Revised and Amplified Edition An Updated Note on the Presentation of the Essay and Catalogue Introduction I. ?A New Rome? II. The Public and Private Collections of Rome III. Plaster Casts and Prints IV. Control and Codification V. Casts and Copies in Seventeenth-Century Courts VI. ?Tout ce qu?il y a de beau en Italie? VII. Erudite Interests VIII. Florence: The Impact of the Tribuna IX. Museums in Eighteenth-Century Rome X. The New Importance of Naples XI. The Proliferation of Casts and Copies XII. New Fashions in the Copying of Antiquities XIII. Reinterpretations of Antiquity XIV. The Last Dispersals XV. Epilogue Notes to the Text Updated Bibliography Catalogue Appendix Bibliography Index Volume II: Originals Volume III:Replicas and Adaptations 0 g.

Rilegato. Condition: nuovo. Pages:3 vols, 1684 p.Illustrations:186 b/w, 1592 col. Language(s):English. Publication Year:2024. Brepols. ISBN: 978-1-909400-25-2. Hardback --- Summary For several hundred years, until about 1900, a limited number of antique sculptures were as much admired as are the Mona Lisa, Botticelli s Birth of Venus or Michelangelo s David today. They were reproduced in marble, bronze and lead, as plaster casts in academies and art schools, as porcelain figurines for chimneypieces and as cameos for bracelets and snuffboxes. They were celebrated by poets from Du Bellay and Marino to Byron and D Annunzio, and memorably evoked by novelists as diverse as Marcel Proust and Nathaniel Hawthorne, George Eliot and Charles Dickens. Copies of some of these statues can be seen at Pavlosk and Madrid, at Stourhead, Charlottenburg, Malibu and Versailles, and in countless gardens, houses and museums throughout the world. How and when did these particular sculptures achieve such a special status? Who were the collectors, restorers, dealers, artists, dilettanti, scholars and archaeologists who created their reputations? Under what names (often wildly fanciful) did they first become famous? How were they interpreted, and how and when and why did their glamour begin to wane? These are some of the problems that are confronted in Taste and the Antique. Taste and the Antique has become a classic of art history since its original publication in 1981. This revised and amplified edition significantly updates the information based on new research undertaken in the last several decades, as well as expanding examples of the reception and influence of these works by artists and collectors from the Renaissance through to contemporary art. The original edition has been expanded into three volumes: Volume 1 is a revised and amplified version of the 1981 edition. Fifteen chapters trace in narrative form, with the support of a wide variety of plates, the rise and decline of this highly important episode in the history of taste. These chapters are followed by catalogue entries for 95 of the most celebrated sculptures, all of them illustrated, which provide information on when and where they were discovered, changes of ownership and nomenclature, as well as a record of varying critical fortunes designed to complement the more general discussion in the earlier chapters. Volume 2 contains especially commissioned new photography of over 90 statues catalogued in Volume 1. Volume 3 is entirely devoted to a visual survey of the full range of replicas and adaptations of the works catalogued and illustrated in the previous volumes. The book is indispensable for historians of taste, and to art historians concerned with the debt owed by numerous artists from the Renaissance onwards to the art of ancient Greece and Rome; and it is also of great value to students and collectors of the many surviving copies of the sculptures discussed. TABLE OF CONTENTS Volume I: Text Preface to the Revised and Amplified Edition An Updated Note on the Presentation of the Essay and Catalogue Introduction I. A New Rome II. The Public and Private Collections of Rome III. Plaster Casts and Prints IV. Control and Codification V. Casts and Copies in Seventeenth-Century Courts VI. Tout ce qu il y a de beau en Italie VII. Erudite Interests VIII. Florence: The Impact of the Tribuna IX. Museums in Eighteenth-Century Rome X. The New Importance of Naples XI. The Proliferation of Casts and Copies XII. New Fashions in the Copying of Antiquities XIII. Reinterpretations of Antiquity XIV. The Last Dispersals XV. Epilogue Notes to the Text Updated Bibliography Catalogue Appendix Bibliography Index Volume II: Originals Volume III:Replicas and Adaptations.

Condition: New. PRINT ON DEMAND pp. 348.

Condition: New. PRINT ON DEMAND pp. 196.