Yale University Press

This fascinating book offers the first comprehensive study in English of Baldassare Longhena (1598-1682), the indispensable architect of the Venetian Baroque. While Longhena's legacy is most visible in his iconic Madonna della Salute, the 17th-century basilica devoted to the Virgin Mary in gratitude for Venice's deliverance from the plague, and in the Pesaro and Rezzonico palaces along the Grand Canal, he created a plethora of other works over the course of a career that spanned half a century. Andrew Hopkins' lucid and thought-provoking text considers the full span of Longhena's illustrious career, from his monumental staircases and libraries, to the palaces commissioned by private patrons and his projects for Venice's Greek and Jewish communities. This lively account is accompanied by more than sixty colour and 300 black-and-white photographs commissioned especially for the book. A complete list of Longhena's work is included in an appendix.

This handsome volume brings together an impressive array of scholars, who analyze an outstanding private collection of 175 Old Master drawings that date from the 16th through the 18th century. The collection vibrantly revealed here includes a wide variety of drawings — from sketches and figure drawings to copies after masters and preliminary studies for major compositions — and features the work of many important Italian artists, including Raphael, Andrea del Sarto, Baccio Bandinelli, Pontormo, Perino del Vaga, Gian Lorenzo Bernini, Salvator Rosa, Guercino, and Giovanni Battista Tiepolo, among many others. Each work is reproduced and accompanied by complete documentation: physical description, provenance, bibliography, and exhibition history, as well as background information on the subjects captured in the drawings. Capturing the Sublime opens the beauty of these drawings to a broader public and provides important new attributions and scholarship.

Widely regarded as one of the most important photographers of the 20th century, Garry Winogrand (1928-1984) did much of his best-known work in Manhattan during the 1960s, becoming an epic chronicler of that tumultuous decade. But Winogrand was also an avid traveller and roamed extensively around the United States, bringing exquisite work out of nearly every region of the country. This landmark retrospective catalogue looks at the full sweep of Winogrand's exceptional career. Drawing from his enormous output, which at the time of his death included thousands of rolls of undeveloped film and unpublished contact sheets, the book will serve as the most substantial compendium of Winogrand's work to date. Lavishly illustrated with both iconic images and photographs that have never been seen before now, and featuring essays by leading scholars of American photography, Garry Winogrand presents a vivid portrait of an artist who unflinchingly captured America's swings between optimism and upheaval in the postwar era.

Since its origins in the 1970s, punk has had an incendiary influence on fashion. As a style, punk was about chaos, anarchy, and rebellion. This title examines the impact of punk's aesthetic of brutality on high fashion, focusing especially on its do-it-yourself, rip-it-to-shreds ethos, the antithesis of couture's made-to-measure exactitude.

Johannes Vermeer (1632-1675) is one of the worlds most captivating artists. Renowned for his sublimely beautiful depictions of everyday Dutch life, Vermeer created exquisite paintings that are sought out by any art lover. Music was a key facet of 17th-century Dutch life, in both public and private. Of Vermeers 36 surviving paintings, twelve depict musical themes or a musical instrument. These include the magnificent Young Woman Standing at a Virginal, Young Woman Seated at a Virginal, The Music Lesson, and The Guitar Player, all featured in this book. The book also includes paintings by Vermeers contemporaries, such as Gerard ter Borch (1617-1681), Gabriel Metsu (1629-1667), and Jan Steen (c. 1626-1679). Vermeer and Music provides new insight into the cultural significance of these images. A historical overview of musical instruments and entertainment in the Dutch Republic, including the abundant publication of songbooks filled with love songs and poems, some richly illustrated, contextualizes the fascinating relationship between music and the visual arts.

The American painter Frederic Church (1826-1900) rose to fame as a member of the Hudson River School, which inaugurated the great tradition of American landscape painting. He was also a leading proponent of the landscape oil sketch made rapidly out-of-doors, in front of the subject. Such informal and spontaneous works often served as preparatory studies for large-scale paintings, and played a vital role in landscape practice and pedagogy in both Europe and America from the mid-19th century to around 1900. This book features some thirty sketches Church made in the United States, Jamaica, Europe, and the Middle East over the course of his career. A number of them come from Olana, the artist's magnificent home overlooking the Hudson River and now a New York State historic site. An introductory essay by Andrew Wilton is accompanied by detailed commentaries on the featured works.

Edward Hopper (1882 — 1967) is recognized as one of the most well-known American artists of the 20th century. His distinctive style, combining subtle observations of the world with his imagination, has not only influenced other artists but also photographers, filmmakers, and popular culture. Although Hopper is primarily known for his oil paintings, including such iconic works as Nighthawks (1942) and Early Sunday Morning (1930), this important publication is the first comprehensive exploration of his drawings and working methods. In 1967, Hopper's widow, Josephine Nivison Hopper, bequeathed her husband's artistic estate to the Whitney Museum of American Art, including a fascinating collection of more than 2,000 drawings spanning his entire career. This group of works has never been the subject of in-depth study and many have never been reproduced before. Hopper kept these drawings for personal reference as he revisited various themes throughout his career. Carter E. Foster carefully examines how Hopper used his drawings to develop his paintings, arguing that the artist's work can only be fully understood after in-depth study of these preparatory sketches. Foster also argues that Hopper was, in many ways, a traditional draftsman who methodically developed schematic ideas into detailed studies to refine content. However, the steps toward this refinement are unique to Hopper and reveal how he turned the mundane into poetic images with universal appeal.

Hieronymus Cock (1518-1570) was an Antwerp painter and printmaker. Together with his wife, he was one of the first to establish a publishing house for prints. From 1548 their firm At the Sign of the Four Winds issued hundreds of important etchings and engravings. Prints after frescoes and paintings by Italian artists Raphael and Bronzino, the first series of classical ruins, antique sculpture, as well as designs by such Northern artists as Maarten van Heemskerck and Frans Floris were distributed all over Europe and helped to spread Renaissance ideals of beauty. It was Cock who spotted the talent of Pieter Bruegel, an artist who would eventually supply Cock with more than sixty designs for prints.

In the years between 1890 and 1905, Paris witnessed a revolution in printmaking. Before this time, prints had primarily served reproductive or political ends, but, as the century came to a close, artistic quality became paramount, and printmaking blossomed into an autonomous art form. This gorgeously illustrated and accessibly written book looks at the circumstances in which this terrific new enthusiasm for prints unfolded; the principal players in its development; and the various printmaking techniques being used. Most modern French artists experimented with lithographs, etchings, or woodcuts, many of which were published in small editions intended for art connoisseurs and collectors. Their popularity, however, was not confined to these exclusive groups. Colorful prints designed by Pierre Bonnard, Paul Gauguin, Henri-Gabriel Ibels, Henri de Toulouse-Lautrec, and Edouard Vuillard, among others, were seen and admired all over Paris in the form of illustrated theater programs, sheet music, magazines, books, and street posters. Featuring highlights from the Van Gogh Museum, which houses a superb collection of prints from fin de siecle Paris, this enlightening volume shows how the most influential artists of the day turned their hands to making beautiful impressions — prints that were works of art in themselves.

In December 1921, the poet Manuel Maples Arce (1898 — 1981) papered the walls of Mexico City with his manifesto Actual No. 1, sparking the movement Estridentismo (Stridentism). It is inspired by Mexico's rapid modernization following the Mexican Revolution, the Estridentistas attempted to overturn the status quo in Mexican culture, taking inspiration from contemporary European movements and methods of expression. Mexico's Revolutionary Avant-Gardes provides a nuanced account of the early-twentieth-century moment that came to be known as the Mexican Renaissance, featuring an impressive range of artists and writers. Relying on extensive documentary research and previously unpublished archival materials, author Tatiana Flores expands the conventional history of Estridentismo by including its offshoot movement 30-30! and underscoring Mexico's role in the broader development of modernism worldwide. Focusing on the interrelationship between art and literature, she illuminates the complexities of post-revolutionary Mexican art at a time when it was torn between formal innovation and social relevance.

James Stirling was one of the most influential architects of the late 20th century. His formally inventive yet historically informed designs inspired a generation of architects in his native England and throughout the world. James Stirling: Revisionary Modernist is the first in-depth, book-length analysis of the architect's work. Amanda Reeser Lawrence focuses on six of Stirling's projects from the early 1950s through the late 1970s, offering detailed formal analysis of the buildings and drawings while also mapping his relationship to a broader architectural and cultural context. Though it is widely held that Stirling took a mid-career turn toward postmodernism, Lawrence shows that he was undeniably modern throughout his career. She clarifies the ways in which Stirling understood modernism as inextricably linked to the past and placed his own work in what he termed a dialogue with architectural tradition.

Pliny's «Natural History» (AD 77-79) served as a guide to and exemplar of the ideals of art for Renaissance artists, patrons, and theorists. This title charts the historiography of Latin and Italian manuscripts and early printed copies of the «Natural History» to trace the dissemination of its contents to artists from Donatello to Michelangelo.

Winslow Homer (1836-1910) is one of the core figures of 19th-century American art. The Clark Art Institute holds one of the greatest collections of Homer's work across all media. The collection was assembled predominately by Robert Sterling Clark (1877-1956). This book examines Clark as a collector of Homer and the Clark's extensive holdings.

Vincent van Gogh (1853-1890) is often considered to be a genius in a class of his own, an exceptional self-taught artist who paid little attention to the art world around him. In reality, Van Gogh learned extensively from others, exchanged ideas with his contemporaries, and often made use of prevailing methods and techniques to hone his skills. This extraordinary book explores the workmanship behind his artistry. The reader follows Van Gogh's quest to perfect his skills and the way he adopted various drawing and painting techniques; acquired information about materials; learned about the physical characteristics of canvases, paint, paper, chalk, and other materials; how he approached working on paper and canvas and which factors influenced his working practice. Showing his work alongside that of other artists demonstrates the degree to which he followed examples set by his contemporaries. Van Gogh's working methods are explored along with his most famous works, addressing such topics as the use of a perspective frame, colour theory, the influence of contemporaries and the famous repetitions of a theme as in the Sunflowers and the Bedroom series.

A perennial favourite of museum visitors, the works of William Merritt Chase (1849-1916) embody the quintessential characteristics of American Impressionism: outdoor landscapes, a colourful palette, and an energetic brush stroke. He was also a portrait painter of the first rank, a master of still life, a renowned teacher, and a leader of artists' societies. This gorgeous book, the first of a four-volume definitive catalogue, features Chase's stunning paintings in pastel, which constitute a major and previously understudied body of work by the artist; monotypes; painted tiles and plates; watercolours; and prints. Reconstructing Chase's oeuvre is a daunting task, as the artist left few records of any kind, and no documentation of his individual works exists. Furthermore, Chase's paintings and pastels have been forged in great numbers throughout the years, and many of these works still surface on the art market. Making this long-awaited volume even more valuable is a list of every known exhibition of Chase's work during the artist's lifetime, selected examples of major post-1917 exhibitions, and an essay on Chase's innovative pastel technique.

The Gothic Revival movement in architecture was intimately entwined with 18th — and 19th — century British cultural politics. By the middle of the 19th century, architects and theorists had transformed the movement into a serious scholarly endeavour, connecting it to notions of propriety and truth, particularly in the domain of religious architecture. Simultaneously, reform within the Church of England had worked to widen the aesthetic and liturgical appeal of correct gothic forms. Coinciding with these developments, both architectural and religious, was the continued expansion of Britain's empire, including a renewed urgency by the English Church to extend its mission beyond the British Isles. In this groundbreaking new study, G. A. Bremner traces the global reach and influence of the Gothic Revival throughout Britain's empire during these crucial decades. Focusing on religious buildings, he examines the reinvigoration of the Church of England's colonial and missionary agenda and its relationship to the rise of Anglican ecclesiology, revealing the extraordinary nature and extent of building activity that occurred across the British world.

Jackson Pollock's revolutionary 'drip paintings' put American art on the map, representing the first real break with the formal structures of European art. But it was not only his vibrant canvases that made him a celebrity during his life and a legendary figure after his death in a car crash at the age of forty-four. In the 1950s Pollock became an icon of rebellion, brooding and defiant, prefiguring actors like Marlon Brando and James Dean, who came to epitomize the persona. Pollock is even thought to be a model for Stanley Kowalski, the antihero of A Streetcar Named Desire and the role that first made Brando famous. Now Evelyn Toynton offers an intriguing look at Pollock's dramatic life and legacy, from his hardscrabble childhood in Wyoming and Arizona; to New York City during the Great Depression, the scene of his earliest encounters and struggles with contemporary art; to his days in the run-down Long Island fishing village his presence helped transform into a fashionable resort. Viewing Pollock within the context of his time, Toynton illustrates his wide-ranging influence on art and pop culture — and examines why he continues to captivate, both as an artist and as a man.

Eye on a Century celebrates a cornerstone of the Yale University Art Gallery's holdings: the Charles B. Benenson Collection of Modern and Contemporary Art. This major bequest includes works by a veritable pantheon of modern and contemporary artists — among them Jean-Michel Basquiat, Stuart Davis, Fernand Leger, Joan Miro, James Rosenquist, and David Smith. The catalogue provides exciting new scholarship on some of the collection's most significant objects, including works by Alexander Calder, Kurt Schwitters, and Pablo Picasso, alongside lesser-known works, by artists such as Alicia Penalba, David Wojnarowicz, and Martin Wong, several of which have never before been published. The introduction, which examines the context of Benenson's collecting, is followed by more than fifty catalogue entries and an illustrated checklist of the complete collection.

This major study offers a new understanding of the aesthetics and politics of postwar European and American art. Questioning the widespread assumption that the most innovative practices were non-representational, it shows how a powerful realist impulse operated alongside a strong commitment to abstraction. Alex Potts makes the case that the ambition to create work that engaged with the everyday and political realities of the world motivated much of the period's vital experimentation with medium and artistic process. Experiments in Modern Realism is a refreshingly unorthodox account of the artistic and political impulses shaping the diverse practices that emerged in mid-20th century art. The wide variety of both canonical and lesser-known work it features ranges from free-form paintings by Dubuffet and De Kooning and assemblages by Rauschenberg and Fahlstrom to actions and happenings by Beuys and Kaprow. Engaging the fields of history, literature, politics, cultural theory, and art history, this book is a remarkably probing analysis of postwar art from one of the most important voices in art history today.

British artist Michael Landy (b. 1963) is known primarily as an installation artist. His work, along with others associated with the Young British Artists (YBAs), was first catapulted to the world spotlight when it was featured in the notorious Sensation exhibition (1997). His sculptural installations and performances explore political and social themes, such as the nature of consumerism and commodity. In 2009, Landy began a three-year artist residency at the National Gallery, London. He chose to focus his project on representations of saints and their accompanying stories, often gruesome, which were once part of common culture but are now largely unknown. Landy's preoccupation with recycling narratives and repurposing imagery results in Saints Alive, the subject of this book, conceived to include drawings, collages and a series of kinetic, interactive sculptures with moving parts and sounds.

Dürer and Beyond presents a selection of 100 works from the Metropolitan Museum's outstanding collection of German, Swiss, Austrian, and Bohemian drawings. Featured are numerous drawings by Albrecht Dürer, including his celebrated study sheet with a self-portrait. In addition to drawings by major artists such as Martin Schongauer, Albrecht Altdorfer, Urs Graf, Hans Holbein the Younger, Friedrich Sustris, and Wenceslaus Hollar, the selection also highlights work by lesser known but equally superb draftsmen from the 14th to the end of the 17th century. Richly illustrated and fully documented with artist biographies, comparative illustrations, and enlightening commentary on the variety, quality, and purpose of the featured drawings, this book makes a significant scholarly contribution to a field that has not been widely explored.

This sumptuously illustrated book offers a completely new way of looking at the art of Vincent van Gogh, by exploring the artist's approach to nature through his innovative use of the close-up view. Focusing on the last years of the artist's career—from 1886 until his death in July 1890—an international team of leading scholars in the field examines Van Gogh's radical approach to the close-up and sets it in the context of contemporary and historical references, such as his hitherto unrecognized use of photography and his fascination with the Old Masters and with Japanese art and culture. One hundred key paintings dating from his arrival in Paris in 1886 to the end of his career show how Van Gogh experimented with unusual visual angles and the decorative use of color, cropping, and the flattening of his compositions. In some paintings he zoomed in on a tuft of grass or a single budding iris, while depicting shifting views of a field or garden in others. Van Gogh: Up Close not only reveals how these paintings became the most radical and innovative in the artist's body of work but also demonstrates that, far from being a spontaneous or undisciplined artist, Van Gogh was well aware of the history of art and was highly conscious of his efforts to break new ground with his work.

Known as the century of anatomy, the 16th century in Italy saw an explosion of studies and treatises on the discipline. Medical science advanced at an unprecedented rate, and physicians published on anatomy as never before. Simultaneously, many of the period's most prominent artists — including Leonardo and Michelangelo in Florence, Raphael in Rome, and Rubens working in Italy — turned to the study of anatomy to inform their own drawings and sculptures, some by working directly with anatomists and helping to illustrate their discoveries. The result was a rich corpus of art objects detailing the workings of the human body with an accuracy never before attained. Art and Anatomy in Renaissance Italy examines this crossroads between art and science, showing how the attempt to depict bone structure, musculature, and our inner workings — both in drawings and in three dimensions — constituted an important step forward in how the body was represented in art. While already remarkable at the time of their original publication, the anatomical drawings by 16th-century masters have even foreshadowed developments in anatomic studies in modern times.

Known primarily as a great painter, Bartolome Esteban Murillo (1617-1682) was also one of the best draftsmen of the 17th century. Although his devotional paintings seem to have been created effortlessly, they are the result of careful thought and study, a process that comes alive in the preparatory drawings. Murillo used a variety of techniques, favoring pen and ink and brown wash and red-and-black chalk. Like painters schooled in Italian Renaissance practice, the Spaniard developed his paintings in stages, starting with sketches of the full composition and then focusing on details that posed specific problems. Occasionally, Murillo used drawings as a medium for original compositions; these are highly finished pieces, usually enhanced by the use of wash and unmistakably stamped with the artist's personality. This sumptuous book is a thoroughly revised edition of the 1976 publication Murillo & His Drawings. Twenty sheets have been added to the catalogue of authentic works, the bibliography has been brought up to date, and the entries have been revised.