Acknowledged as the journal of record in its field, American Furniture presents new research on furniture design, use, production, and appreciation. Begun in 1993, this award-winning annual provides a comprehensive forum on furniture history, technology, connoisseurship, and conservation by the foremost scholars in the field. It is the only interdisciplinary journal devoted exclusively to furniture made or used in the Americas from the seventeenth century to the present.

Behind rolling hills, overlooking the fjord and the islands of Southern Funen, you will find Faaborg Museum. With its boldly coloured walls and decorative tile floors made from local clay, the building has quite literally sprung from Funen soil in a symbiosis of local nature and culture. Inside, visitors will find art by the ‘Funen Painters’, created during the period 1880 to 1928 when Faaborg was home to one of Denmark’s pre-eminent artists’ colonies. With their paintings of rural Funen, farmworkers and domestic scenes, the artists Peter Hansen, Fritz and Anna Syberg, Jens Birkholm and Johannes Larsen introduced new subject matter and new methods of painting in Danish art. Faaborg Museum was founded in 1910 by Mads Rasmussen, art patron and manufacturer of tinned goods and preserves. The museum was intended as a celebration of the art created in and around Faaborg. Together with the artists, he commissioned the architect Carl Petersen to create a building to house the museum’s collection – a building that is now acclaimed as a masterpiece of neoclassical architecture and embodies a rare union of art, architecture and design. Faaborg Museum and the Artists’ Colony presents the history of Faaborg Museum, its architecture, collection and artists to international audiences for the first time. Lavishly illustrated, the book features architectural photographs and plans as well as dozens of reproductions of the museum’s art.

In this pioneering musicological study the Danish emeritus professor Finn Egeland Hansen proposes that the classical-romantic main current of the 19th century in fact represents two sub-currents, the one focusing on the romantic aspects, the other focusing on the classical aspects of its musical style. His thesis is discussed with excerpts from the standard musicological literature plus writings by Saint-Saëns, and Finn Egeland Hansen exemplifies his argument in readings of the music by three stylistically different composers – the French Camille Saint-Saëns and Charles Gounod and the Danish Niels W. Gade. Finn Egeland Hansen labels these harbingers’ style as retro-classicism.

Published in commemoration of the 500th anniversary of Raphael’s death, this engrossing publication accompanies an exhibition the Isabella Stewart Gardner Museum. Raphael and the Pope’s Librarian brings together for the first time one of the most fascinating works in the museum’s collection – the Gardner Museum’s portrait of papal librarian Tommaso Inghirami – and a painting from the Vatican Museums depicting an episode in this life. This book tells the story of the first Raphael in America and explores Inghirami’s fascinating career. Nearly five centuries after his death in 1520, Raphael’s fame remains undiminished. Crowned “prince of painters” by Giorgio Vasari, he inspired both artists of his own time and others for centuries afterward. According to the celebrated writer Henry James, Raphael’s work was “semi-sacred.” Gilded Age American collectors swooned over his iconic religious images and masterly brushwork, and James’s contemporaries feverishly tried and failed to acquire Raphael’s rare paintings in a market flooded with copies, and the occasional forgery.Isabella Stewart Gardner took up the challenge, determined to buy a magnificent Madonna by Raphael. Following her gripping hunt, Gardner was the first collector to bring a work by Raphael to America, where its unexpected subject led to a mixed reception and generated surprising rumors in the years to follow. Despite any hesitations over the painting’s beauty, Gardner named an entire gallery of her new Boston museum after the Renaissance master and installed many of her most celebrated works of art around his portrait of the rotund cleric Tommaso Inghirami. Described by Erasmus as “the Cicero of our era”, Inghirami was a celebrity in the high Renaissance esteemed for his profound erudition and theatrical abilities. His unparalleled knowledge and understanding of classics made him the ideal choice for Vatican Librarian under Pope Julius II. Yet he achieved a lasting fame on stage, playing a leading role in the revival of ancient theatre and acquiring the nickname “Fedra” after starring as the lovesick Queen Athens in Seneca’s Greek tragedy Hippolytus (Phaedra). Inghirami’s friend Raphael offered him another role, recasting the Renaissance humanist as the congenial philosopher Epicurius in his legendary School of Athens fresco before memorializing him in the more worldly painted portrait at the center of this exhibition. Raphael and the Pope’s Librarian is the latest in the Close Up series of books accompanying a Gardner exhibition series, each installment of which sheds new light on an outstanding work of art in the permanent collection.

In past years, Miquel Barceló has been depicted in various and yet contrasting ways, including the new Picasso, the rebel, the genius, or the joker. This book’s primary goal is to situate the artist within contemporary critical debate, discussing his production during the Postmodern Era and analysing his affinity with Hypermodernity. Through the comparison of Barcelό’s writings, declarations, and works, the study examines the artist’s autofiction, creating a connection between his hyperindividualism (which is discussed in relation to the Hypermodern Era) and the oceanic feeling. The book presents numerous unpublished materials, mostly contained in the artist’s journals or gained during numerous meetings with the artist, providing the reader with a tool to understand Barceló’s art, and also hopefully, the times we are living in.

Telling the story of the flight of the Jews from Egypt based on the biblical book of Exodus, the Haggadah was – and still is – used during the Seder, the ritual meal of the first night of Passover. The text of this remarkable manuscript has been richly illustrated by many artists in different countries for over seven hundred years. With its seventy-fi ve illustrations, occupying the margins of almost every page, this manuscript expresses the elegant language of the Gothic International style in Lombardy. Directly related to the workshop of the renowned master builder, sculptor, and illuminator Giovannino de’ Grassi, who fl ourished under the patronage of the noble Visconti family in Milan, the present volume was probably commissioned by a wealthy individual. The presumed date of origin of the Lombard Haggadah corresponds with a period known for its wave of immigration into Lombardy of northern European Jews, who were especially welcomed by Duke Gian Galeazzo Visconti. Last on public exhibition in the Paris World’s Fair in 1900, when it belonged to a French family, the Lombard Haggadah was then sold in 1927 in London to the noted collector of Hebrew manuscripts Salman Schocken. Little known, the manuscript has remained in private hands ever since. It survives as the earliest stand-alone Italian Haggadah. Of the greatest rarity, it is one of three illustrated medieval Haggadahs still privately owned. Sharon Liberman Mintz, Curator of Jewish Art, The Jewish Theological Seminary, states “I have worked with Hebrew illuminated manuscripts all of my professional life, and this one stands out for its fresh, charming, and sometimes unique paintings as well as its historical importance”.

This volume discusses the reception of Leonardo’s artistic, theoretical and scientific work from the seventeenth to the twentieth century. It also examines the roles of collectors, intellectuals and artists in Britain in the transmission and transformation of his legacy. At stake is what role, or rather roles, Leonardo played in British art, aesthetics and scientific thought. Leonardo da Vinci’s legacy in Britain has remained largely overshadowed by that of other Italian artists. What was actually known of his work? Were particular aspects of his art and writings favoured? This volume investigates how Leonardo’s artistic, theoretical and scientific work has been received in Britain from the seventeenth century onwards. It offers new information concerning the provenance of certain key works and considers their significance for the formation of important British private and public collections. It also addresses the crucial issue of what was considered to be an original work by Leonardo, encompassing related discussions on the roles of versions and copies. In addition, it investigates the shaping of early academic discourse and the appearance of the first English editions of the ‘Treatise on Painting’, as well as considering the publication of English anthologies of his writings and methodological approaches to Leonardo studies. At the same that this volume focuses on the historical reception of Leonardo and his followers’ works in Britain, it makes a wider contribution to studies concerning cultural and intellectual exchanges between Italy and Britain.

Beads, bracelets, necklaces, pendants and many other ornaments are familiar objects that play a fundamental role in personal expression and communication. This book considers how and why the human relationship with ornaments developed and continued over tens of thousands of years, from hunter-gatherer life in the cave to urban elites, from expedient use of natural resources to complex technologies. Using evidence from archaeological sites across Turkey, the Near East and the Balkans, it explores the history of personal ornaments from their appearance in the Palaeolithic until the rise of urban centres in the Early Bronze Age and encompassing technologies ranging from stone cutting to early glazing, metallurgy and the roots of glass manufacture. The development of theoretical and practical approaches to ornaments and the current state of research are illustrated with a wide variety of examples. This book shows that far from being objects of display, of little value in archaeological interpretation and often overlooked, these artefacts are key to understanding trade, relationships, values, beliefs and the construction of personal identity in the past. Indeed, more than any other group of artefacts, their variety in material, form, use and distribution opens doors to both wide ranging scientific exploration and consideration of what it is to be human.

Tokyo Listening examines how the sensory experience of the city informs how people listen to both music and everyday, ubiquitous sounds. Drawing on recent scholarship in the fields of sound studies, anthropology, and ethnomusicology and over fifteen years of ethnographic fieldwork in Japan, Lorraine Plourde traces the linkages between sound and urban space. She examines listening cultures via four main ethnographic sites in Tokyo—an experimental music venue, classical music cafes, office workspaces, and department stores—looking specifically at how such auditory sensibilities are cultivated. The book brings together two different types of spaces into the same frame of reference: places people go to specifically for the music, and spaces where the music comes to them. Tokyo Listening examines the sensory experience of urban listening as a planned and multifaceted dimension of everyday city life, ultimately exploring the relationship between sound, comfort, happiness, and productivity.

Which artists in British 20th century art painted religious images? Broadly speaking there seem to have been two categories:The first concerns artists who created religious images when the religious content was in response to a set subject, for example The Deluge in the 1920 Rome Scholarship in Decorative Painting, or who responded to a specific commission, for example Thomas Monnington‘s works for The Ormond Chapel, Bradford, Kippen Church and Stations of the Cross for Brede Church in Hastings.The second category concerns a small minority off artists who were committed believers such as Frank Brangwyn, Eric Gill and Stanley Spencer. No account of 20th Century British art can overlook the numerous works of the period that were essentially “religious” in their content. Art, Faith& Modernity examines this question in Paul Liss‘ and Alan Powers’ essays and demonstrates the wide range of expression in more than 200 colour reproductions.

The essays presented in this volume investigate the relationship between cinema and ontology. This investigation unfolds, on the one hand, through an ontological understanding of cinema, that is, an understanding of the specificity of if its being. On the other hand, it highlights the ways in which cinema can help us to shed some light on the domain of ontology, namely, what exists. The five sections of this volume, each containing a pair of complementary essays, analyse the following topics: the place of cinema in the system of the arts, the connection between cinematic realism and philosophical realism, the transition from analog to digital cinema, the specificity of films made through cell phones, and the representation of non-human animals in films.

Pop music meets the media..

Photographer John Willis has long been aware of the exploitation that can occur when photographers enter communities as outsiders. So, in 1992, when he first visited the Pine Ridge Indian Reservation in South Dakota, he assured elders of the Oglala Lakota nation that he would not exhibit any of his images. Over time, however, Willis earned the respect and trust of the community, and the elders urged him to show his work and create this book so that others might better understand Lakota land and life. Willis has returned to the reservation every year since 1992, and he has come to grasp and interpret this place as few others have. Views from the Reservation, first published to widespread acclaim in 2010 and now presented in an updated and expanded edition, remains a gift—a wopila—that is meant to open the minds, eyes, and hearts of outsiders to the life, culture, and conditions of the Oglala Lakota people. Along with his insightful and accomplished images, Willis has enlisted other voices to offer a more complete story: Lakota elders and high school students from the Pine Ridge Reservation offer powerful poems; writer Kent Nerburn contributes an original essay; Emil Her Many Horses, a curator at the National Museum of the American Indian, tells his story of growing up on the rez; Kevin Gover, Director of the National Museum of the American Indian, apologizes for the government’s abuse of native people; Oglala Lakota artist Dwayne Wilcox shares his provocative ledger drawings; and members of the Reddest family present their amazing photo collection.Views from the Reservation is a masterful book that has been praised by the Lakota people for its honesty, spirit, and depth. It offers the chance for native peoples and outsiders alike to appreciate and respect the Pine Ridge Reservation from contemporary and historical points of view, with art and storytelling leading the way.

The Dresden collection’s singular group of Rembrandt works – about 20 drawings attributed to the master today and the nearly complete oeuvre of etchings– will provide the basis for this remarkable publication. It will have a particular focus on Rembrandt’s narrative compositions, printed self-portraits, studies of his wife Saskia, and will include works from all periods of his oeuvre plus prints and drawings by artists from his workshop and followers. The list of artists who understood Rembrandt as a dynamic authority and source of inspiration is long, reaching from his immediate followers to masters of the 18th century, from Giovanni Benedetto Castiglione to Jonathan Richardson to the kindred spirit Francisco de Goya, into the 20th century and up to the present day. Examples include Edouard Manet, Henri Toulouse-Lautrec, Lovis Corinth, Käthe Kollwitz, MaxBeckmann, Pablo Picasso, as well as Marlene Dumas and William Kentridge and artists from the GDR such as A.R. Penck. By including works by these artists, the exhibtion and catalogue foreground Rembrandt as one of the most important ‘artists’ artist’ of all time. Select juxtapositions will help the reader better understand the fi reworks of creativity that Rembrandt not only lit in his own time but those he continues to ignite today. Rembrandt remains eternally captivating, not only because of his radical choices and unconventional interpretations of Christian and profane pictorial subjects, but also because of his joy in experimentation, especially in the use of printing and drawing techniques, and his refl ective, humorous intellect, complemented by his sensually direct approach to the world. With a light hand, he broke open the conventions of his era. The pictorial worlds that he created with his free, decisive mark convey his near inexhaustible interest in nature as creation, whether it be the human exterior or interior, and off er a wealth of connecting points and constellations for other artists as well as for the viewer.

2019 jährt sich Rembrandts Todesjahr zum 350ten Mal. Die Staatlichen Kunstsammlungen Dresden, die eine der bedeutendsten Sammlung seiner Gemälde, Zeichnungen und Druckgrafiken bewahren, nehmen dieses Jubiläum zum Anlass, den Künstler in einer Ausstellung des Kupferstich-Kabinetts zu feiern. Rembrandts Strich wird sich auf den Grafiker und Zeichner konzentrieren und einen frischen Blick auf ihn suchen, der vielleicht wie kein zweiter bis heute als sogenannter „artists‘ artist“ andere Künstler zur Auseinandersetzung angeregt hat. Die einzigartige Dresdner Sammlung – etwa 20 Zeichnungen, die Rembrandt heute zugeschrieben werden und das nahezu vollständige druckgrafische Werk – bildet die Grundlage für die herausragende Ausstellung. Sie wird ein besonderes Augenmerk auf seine erzählerischen Kompositionen, radierten Selbstbildnissen und die Studien seiner Frau Saskia richten. Die Ausstellung umfasst rund 100 Werke aus allen Schaffensperioden Rembrandts und etwa 50 Radierungen und Zeichnungen von Schülern seiner Werkstatt sowie von späteren Künstlern, die Rembrandt als Autorität und kreative Inspirationsquelle verstanden haben. Die lange Reihe derer, die ihr Selbstbildnis in Auseinandersetzung mit Rembrandt definierten, reicht von unmittelbaren Nachfolgern und Meistern des 18. Jahrhunderts wie Benedetto Castiglione und Georg Friedrich Schmidt, über den kongenialen Francisco de Goya ins 20. Jahrhundert bis heute. Als Beispiele mögen Edouard Manet, Henri Toulouse-Lautrec, Lovis Corinth, Käthe Kollwitz, Max Beckmann und Pablo Picasso sowie Marlene Dumas und William Kentridge, aber auch Künstler aus der DDR wie A.R. Penck dienen. Indem Werke dieser Künstler einbezogen werden, wird Rembrandt als einer der wichtigsten „Künstlerkünstler“ aller Zeiten vorgestellt. Ausgewählte Gegenüberstellungen werden den heutigen Betrachtern helfen, das Feuerwerk an Kreativität besser zu verstehen, das Rembrandt nicht nur zu seiner Zeit freisetzte, sondern auch heute noch entzündet. Zeitlos fesselnd bleibt Rembrandt durch seine Radikalität in Auswahl und unkonventioneller Interpretation christlicher und profaner Bildthemen, nicht weniger durch seine Experimentierfreudigkeit – besonders im Gebrauch grafischer Techniken – als auch durch seinen reflektierten und dabei oft humorvollen Intellekt, der von seinem sinnlich zupackenden Blick auf die Welt ergänzt wird. Mit leichter Hand, fast spielerisch doch voller Energie, sprengte er in seiner Zeit Konventionen. Mit seinem freien, unverkennbaren Strich schuf er Bildwelten, aus denen sein schier unerschöpfliches Interesse an der Natur als Schöpfung spricht, sei es die äußere oder die innere des Menschen. Damit bietet sich eine Fülle von Anknüpfungspunkten und Anregungen für Künstler und Betrachter.

At the opening of the twentieth century, Massachusetts architects struggled to create an authentic new look that would reflect their clients’ increasingly informal way of life. Inspired by the Arts and Crafts Movement in England, the result was a charming style that proved especially appropriate for the rapidly expanding suburbs and vacation houses in the state - charming but overlooked, principally because the style is somewhat difficult to describe. The Arts and Crafts Houses of Massachusetts brings these homes, hidden in plain sight, the attention they deserve. Meticulously researched and with abundant color photos, the book is the only work focusing on the state’s Arts and Crafts domestic architecture and the only one to include an illustrated field guide. It is also the first book to explore the use of this cutting-edge style in designing buildings for estate servants, transit workers, and renters-groups that historically lacked access to professionally designed homes.