The Dutch painter Barend Graat lived his entire life in Amsterdam and worked as an artist from 1645 until 1709. He produced drawings and paintings, well over a hundred of which are currently known. He was trained by his uncle Hand Bodt as a landscape and animal painter but developed and a genre and historic painter as well. Also he produced many portraits of wealthy Amsterdam merchants (mostly) and their families. This monograph consist of five chapters and a catalogue raisoné. Six appendices contain all relevant documents with regards to Graats life and work. The first three chapters discuss the life and work of the artist. Chapters 4 and 5 present his oeuvre and etchings. The catalogue raisoné presents all known artworks in the form of paintings, drawings and etchings. TEXT IN DUTCH

Now in its fifteenth year of publication, Ceramics in America is considered the journal of record for historical ceramics scholarship in the American context and is intended for collectors, historical archaeologists, curators, decorative arts students, social historians, and contemporary potters.

Rare Light is a collection of essays exploring little known facets of the life and career of a major American Impressionist painter. J. Alden Weir (1852–1919) painted some of his finest canvases while living in Windham in eastern Connecticut’s picturesque “Quiet Corner,” and this rural location played a crucial role in Weir’s artistic development. The four essays that comprise this book offer in-depth contextual information about the architecture, culture, environment, and history of the region, allowing us to see Connecticut as it appeared in Weir’s lifetime. Interweaving photos, paintings, and letters—some never before published—Rare Light documents the artist’s sense of Windham as a place for social gatherings, physical and psychic rest, and art making. Taken together, the essays celebrate the interconnectedness of art, architecture, family, history, and place. Includes essays by Charles Burlingham Jr., Rachel Carley, Anne E. Dawson, and Jamie Eves.

The first book to appear on the 20th century British artist Charles Cundall, this publication examines aspects of Cundall work done at home in England, abroad - Cundall made numerous painting trips to the continent, but also to the United States - and during the war. Well illustrated, the book also includes a chronology and a reproduction of a text by William Gaunt dating from the 1960s and commissioned for a book on Cundall that never came to be.

A hypertextual guide to an uncharted Milan, the liveliest, expressed through features far from the media’s limelight. The Milan of places where independent and underground culture is produced, where new ways of life and socializing are experimented on a daily basis, with participation and dissemination of knowledge.A guide capable of, firstly, disassembling the numerous components of the urban framework to then give useful tips for an upstream, erratic journey full of surprise and emotion. 
 A topography of author itineraries between psyche and territory, narrative itineraries written by the best pens of Milan in a fun game of clues, links and chance, but also of new correlations in which the readers can become protagonists.The project, to which a multitude of researchers, artists, academics and professionals will take part, wants to contribute to the growth and enrichment of a different Milan, different from the one portrayed by the official signage.
 In addition, the Guide – with its website of interactive maps – allows all the realities involved to “trespass” their reference fields and interact with the other reported experiences.

The exceptional bronzes presented here have been carefully selected, over the course of many years, to represent the Tomasso Bothers’ passion for this most fascinating material, and they range from the dawn of Italian humanism in the early 15th century to the high point of the Italian late Baroque. Highlights include a remarkable and rare relief depicting the Triumph of Caesar over King Juba by Italian artist Filarete (c. 1433), an exceptional and commanding Mars by Giambologna, Florence’s most prominent sculptor of the late Renaissance, and an exquisite and newly published autograph version of the Abduction of Proserpina by François Girardon, King Louis XIV’s court sculptor. These are accompanied by further testimonies of the extraordinary development of European sculpture in bronze, such as a unique pair of allegorical statuettes by Francesco da Sangallo, a student and contemporary of Michelangelo, a rare Cristo Benedicente by Northern Italian master Giulio del Moro, and sacred and secular subjects by the most gifted heirs to Giambologna’s tradition, Antonio and Gianfrancesco Susini in Florence and, further North, Hans Reichle in Germany. The catalogue accompanies the exhibition Important European Bronzes, which was on display at Carlton Hobbs LLC in New York, 21–30 January 2016. Following on from the Tomassos’ three successful Scultura exhibitions in the United States, this is the company’s first major retrospective dedicated exclusively to sculpture in bronze.

Over the last two decades, discoveries made in the field of cognitive neuroscience have begun to permeate humanities and social sciences. This special issue of Cinéma & Cie focuses on major conceptual and epistemological arguments arising from the dialogue between audiovisual studies and neurosciences. In the context of this intersection, Neurofilmology is an interdisciplinary research program that arises at the encounter between two models of viewer: the viewer-as-mind (deriving from a cognitive/ analytical approach) and the viewer-as-body (typical of the phenomenological/continental approach). Accordingly, Neurofilmology focuses on the viewer-as-organism, by investigating with both empirical and speculative epistemological tools the subject of audiovisual experience, postulated as embodied, embedded, enacted, extended, emerging, affective, and relational.

The greatest treasure of the City of London has been, until now, the least known. The unique Crystal Sceptre of c.1420 - seen only at the inauguration of the Lord Mayor and at coronations, and never photographed before - is here presented with as much as is known of its history, its materials and their origins and its first recorded outing, to the coronation of Catherine of Valois, the wife of King Henry V, in 1421 at Westminster Abbey. Timed to coinicide with the first ever public exhibition of the Crystal Sceptre, which opens on the occasion of the 600-year anniversary of the Battle of Agincourt, this new book will present the Sceptre and over 80 of the finest and most historic pieces in the plate collection at Mansion House - the home, office and centre of entertainment for the Lord Mayor of the City of London. The regalia includes several famous items, notably the 16th-century gold and enamel Chain of Esses, the great Mace of 1735-36 and the Pearl Sword of the 1570s, carried by the Lord Mayor before the Sovereign on visits to the City. The silver-gilt and silver, used constantly during the year, includes pieces by some of the greatest names of English silversmithing - Paul de Lamerie and Paul Storr, for example - but also rare ones by more modern masters - Latino Movio and Omar Ramsden - including masterpieces previously completely unknown to silver historians. An inscription on a silver-gilt cup presented to the Lord Mayor in 1741 records that the intention of the gift was to increas - the Honour and Grandeur - of the City of London. It is just one piece of a vast, eclectic and exceptional collection of plate, which is constantly in use at the Guildhall and Mansion House today to uphold that honour and in the grandest way possible - a rare survival of medieval practices of display. The quality and quantity of the 19th- and 20th-century pieces in particular is extraordinary. This volume is the third in the series on the treasures of Mansion House, following The Harold Samuel Collection of Dutch and Flemish Paintings (2012) and Magnificent Marble Statutes: A Guide to the Sculpture at the Mansion House (2013). Intended to introduce to a broad audience the plate collection - as well as the history of the Lord Mayors, the City guilds and Mansion House itself, and the formation of the collection, it will also be of interest to specialists in silver, who will discover many masterpieces of style and technique.

The French Impressionist painters discovered new means for painting light – they used a “solar palette”, the pigments matched to the colours the eyes see. They are the colours of a ray of light. This little book reproduces palettes by 8 of the plein-air painters – Cézanne, Manet, Monet, Pissarro, Renoir, Seurat, Signac, and Van Gogh. It describes the pigments they used, and includes short excerpts by the scientists whose work was the foundation of the new painting – complementary colours, optical mixing, and the pigment-colour correspondences.

The British Museum citole is a unique example of medieval craftsmanship and is one of very few surviving instruments from the Middle Ages. This new publication includes selected papers from the first international symposium on the British Museum citole, held in November 2010 to highlight recent new research, conservation work and scientific findings related to the British Museum citole. Highly illustrated to reflect the visual richness of this beautiful instrument, The British Museum Citole: New Perspectives features a wide range of academic approaches to the subject, drawing together experts from the fields of history, art history, music, organology, conservation and science and performance practice.

Anyone writing about a work of art needs to establish at the outset how much it has changed since it was first made. This simple, informative and pracrical book, full of fascinating and revelatory photography, will take the reader through both the techniques and media of art and the techniques and media of its investigation and restoration.

The Index of American Design was one of the most significant undertakings of the Federal Art Project -- the visual arts arm of the Works Progress Administration. Part of President Franklin D. Roosevelt's New Deal, this ambitious initiative set out to discover and document an authentic American style in everyday objects. The curators of the Index combed the country for art of the machine age -- from carved carousel horses to engraved powder horns to woven coverlets -- created by artisans for practical use. In their search for a true American artistic identity, they also sought furniture designed by regional craftsmen laboring in isolation from European traditions. Kentucky by Design offers the first comprehensive examination of the objects from the Bluegrass State featured in this historic venture. It showcases a wide array of offerings, including architecture, furniture, ceramics, musical instruments, textiles, clothing, and glass- and metalworks. The Federal Art Project played an important role in documenting and preserving the work of Shaker artists from the Pleasant Hill and South Union communities, and their creations are exhibited in this illuminating catalog. Beautifully illustrated with both the original watercolor depictions and contemporary, art-quality photographs of the works, this book is a lavish exploration of the Commonwealth's distinctive contribution to American culture and modern design.Features contributions from Jean M. Burks, Erika Doss, Jerrold Hirsch, Lauren Churilla, Larrie Currie, Michelle Ganz, Tommy Hines, Lee Kogan, Ron Pen, Janet Rae, Shelly Zegart, Mel Hankla, Philippe Chavance, Kate Hesseldenz, Madeleine Burnside, and Allan Weiss.

Jonathan Richardson (1667–1745) was one of 18th-century England’s most significant cultural figures. A leading portrait painter and influential art theorist, he also amassed one of the period’s greatest collections of drawings. But there was another, highly unusual dimension to his pursuits. In 1728, at the age of 61 and shortly before his retirement from professional life, Richardson began to create a remarkable series of self-portrait drawings. Not intended for public display, these works were unguarded explorations of his own character. In one of the most astonishing projects of self-examination ever undertaken by an artist, for over a decade Richardson repeatedly drew his own face. His self-portrait drawings are usually dated precisely, and they document, from month to month, his changing state of mind as much as his appearance. Many were drawn in chalks on large sheets of blue paper, from his reflection in the mirror. Some of these are bold and psychologically penetrating, while others, in which he regards his ageing features with gentle but unflinching scrutiny, are deeply touching. A further group of self-portraits is drawn with graphite on small sheets of fine vellum, and in these Richardson often presents himself in inventive and humorous ways, such as in profile, all’antica, as though on the face of a coin or medal; or crowned with bays, like a celebrated poet. Sometimes, too, he copies his image from oil paintings made decades earlier, in order to recall his appearance as a younger man. In this extraordinary series of self-portraits, Richardson offers a candid insight into his mind and personality. Together, these drawings create nothing less than a unique and compelling visual autobiography. This publication – which accompanies the first ever exhibition devoted to Richardson’s self-portrait drawings, held in the new Gilbert and Ildiko Butler Drawings Gallery at the Courtauld – tells the story of these remarkable works

Prolific and successful in his own lifetime, and ""Picture drawer"" to Charles I, Cornelius Johnson (1593–1661) is now the forgotten man of seventeenth-century British art. This is the first book ever to address his life and work. Johnson's surviving works, all portraits, are found in most public collections in Britain and in many private collections seen on the walls of British country houses, in the possession of descendants of the original sitters. Working on every scale from the miniature to the full-length and big group portrait, Johnson faithfully rendered the rich textiles and intricate lace collars worn by his sitters. While always recognisably by him, his works reveal his exceptional flexibility and underline his response to successive influences. When four of Johnson's portraits in the Tate’s collection were recently conserved, the author Karen Hearn commissioned investigations into his working methods and techniques. This previously unpublished material will make a significant contribution to the literature on this little-known artist as well as to the technical literature on 17th-century painting. Johnson's career coincided with one of the most dramatic periods in 17th-century history, and he painted many of the leading figures of the era. In 1632 he was appointed Charles I’s Picture drawer and, as well as portraying the king, he produced exquisite small images of the royal children. In 1643, following the outbreak of Civil War, Johnson emigrated to the northern Netherlands. There he continued to work successfully, in Middelburg, Amsterdam, The Hague and, finally, in Utrecht, where he died a prosperous man. Johnson's portraits are not elaborate Baroque construts on the contrary, they have a delicacy, a dignity and a humanity that speak directly to present-day viewers. Their quality and diversity will be a revelation.

The book arises to investigate the prospect of painting in the current context, choosing a philosophical approach careful to delineate mechanisms and capabilities in relation to the history of painting, to its actuality and difference, also in relation to other media, trying to catch those aspects related to its continuous questioning, as dialectic body in continuous evolution/repetition. This book is the first in Italy that serves non as an historical path, but as a survey of the contemporaneity of painting. Main figures of the international scene have joined this project: come Luc Tuymans, Thierry De Cordier, Neo Rauch, Jonathan Meese, Marc Desgrandchamps, Norbert Witzgall, and for Italy, in attition to the two book curators, Barbara Nahmad, Marco Pellizzola, Flavio de Marco.

Canaletto's time in Mid-Georgian Britain has received much scholarly attention in the past. But this book places his work in a broader political and social context, linking his paintings and drawings with a growing sense of assurance and mission which the British nation was beginning to display - perhaps best represented by the works of William Hogarth.