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Dante Gabriel Rossetti and the Pre-Raphaelite Movement

DANTE GABRIEL ROSSETTI AND THE PRE-RAPHAELITE MOVEMENT By Esther Wood A study of the celebrated Pre-Raphaelite artist Dante Gabriel Rossetti and his circle, the Pre-Raphaelite Brotherhood. All of the Pre-Raphaelite artists are explored in Wood's detailed book, first published in 1894, including Morris, Hunt, Ford, Burne-Jones, and Millais. Wood also considers the relation of the Pre-Raphaelites to poetry, literature, mediaeval romance and mythology, and contemporary culture in late Victorian Britain. Fully illustrated, with works from Rossetti and all of the Pre-Raphaelite artists. With a full colour cover. Painters Series. Bibliography and notes.

Guitars That Are Not Called Gudrun

On 26 February 2003 Martin Kippenberger would have turned fifty. In commemoration of his birthday, the gallerist Max Hetzler has dedicated a book to him. "Gitarren, die nicht Gudrun hei?en" rekindles our memories of an enfant terrible of the art world and explores the oeuvre of this outstanding artist, who died six years ago. Artists, critics, art historians and authors have written a series of highly personal testimonies to Martin Kippenberger, who was a friend, a role model and a source of irritation all in one. Albert Oehlen tells of the intense artistic debate that began at the Hamburg Art Academy in the late 1970s and persisted even after both artists had moved off in different stylistic directions. Peter Pakesch recalls his encounter in the 1980s with Kippenberger the "utopian campaigner", and explains how the artist was driven by his boundless desire to grapple with the world, with whatever company he was keeping, and above all with art. As the artist's former assistant, Merlin Carpenter describes the "Kippenberger system" through which all manner of alien ideas and creativity were constantly ploughed into Kippenberger's artistic production. Stephan Schmidt-Wulffen examines how public discourse forged the identity of this artist, who declared that role-playing and strategy were crucial components of his perception of art. For his part, Martin Prinzhorn wonders what place should be given to a body of art that has become so indistinguishable from the persona of the artist, but which at the same time appears almost to vanish inside the most diverse artistic identities. Elusive but omnipresent, Martin Kippenberger appears to his friend Mayo Thompson in a dream as a restless spirit who, as Werner Buttner says, couldn't even have resisted mocking his own funeral-"He would have turned that into art, too". Or, to use Rainald Goetz's words: "Ego-apotheosis: whoosh and away." Martin Kippenberger's vivid presence in the thoughts and writings of his friends is matched by the forceful presence of his work throughout this publication. Pictures, invitation cards, catalogues, snapshots-the book's design compounds this path through the labyrinth of his artistic output and lends Martin Kippenberger physical and visual presence on every page.

Knights of Art: Stories of the Italian Painters

KNIGHTS OF ART STORIES OF THE ITALIAN PAINTERS By Amy Steedman Stories of the Renaissance artists of Italy, such as Titian, Perugino, Tintoretto, Carpaccio, Veronese, Leonardo, Michelangelo, Raphael Sanzio, Giotto, Angelico, Lippi, Botticelli and Bellini. Fully illustrated in a brand new format, with paintings from all of the artists featured in the book. 200 pages. With a full colour cover. Also in hardcover.

Rodin on Art and Artists

The greatest sculptor of the nineteenth century discusses his philosophy of life with a close friend in this fascinating and informative artistic testament. Auguste Rodin spoke candidly to his prot?g?, Paul Gsell, who recorded the master's thoughts not only about the technical secrets of his craft, but also about its aesthetic and philosophical underpinnings.Here is the real Rodin?relaxed, intimate, open, and charming?offering a wealth of observations on the relationship of sculpture to poetry, painting, theater, and music. He also makes perceptive comments on Rembrandt, Michelangelo, Raphael, and other great artists, and he shares revealing anecdotes about Hugo, Balzac, and others who posed for him. Seventy-six superb illustrations of the sculptor's works complement the text, including St John the Baptist Preaching, The Burghers of Calais, The Thinker, and many others, along with a selection of exuberant drawings and prints.

Rubens: “Masterpieces in Colour” Series: Book-IV

Sir Peter Paul Rubens ( 28 June 1577 ? 30 May 1640), was a Flemish Baroque painter, and a proponent of an extravagant Baroque style that emphasised movement, colour, and sensuality. He is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe.. Early lifeRubens was born in the German city of Siegen, Westphalia to Jan Rubens and Maria Pypelincks. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the legal advisor (and lover) of Anna of Saxony, the second wife of William I of Orange, and settled at her court in Siegen in 1570; their daughter Christine was born in 1571. Following Jan Rubens's imprisonment for the affair, Peter Paul Rubens was born in 1577. The family returned to Cologne the next year. In 1589, two years after his father's death, Rubens moved with his mother Maria Pypelincks to Antwerp, where he was raised as a Catholic. Religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting (he had said "My passion comes from the heavens, not from earthly musings").In Antwerp, Rubens received a humanist education, studying Latin and classical literature. By fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the city's leading painters of the time, the late Mannerist artists Adam van Noort and Otto van Veen. Much of his earliest training involved copying earlier artists' works, such as woodcuts by Hans Holbein the Younger and Marcantonio Raimondi's engravings after Raphael. Rubens completed his education in 1598, at which time he entered the Guild of St. Luke as an independent master. Italy (1600?1608)In 1600, Rubens travelled to Italy. He stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The coloring and compositions of Veronese and Tintoretto had an immediate effect on Rubens's painting, and his later, mature style was profoundly influenced by Titian. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601. Last decade (1630?1640)The Exchange of Princesses, from the Marie de' Medici Cycle. Louvre, ParisRubens's last decade was spent in and around Antwerp. Major works for foreign patrons still occupied him, such as the ceiling paintings for the Banqueting House at Inigo Jones's Palace of Whitehall, but he also explored more personal artistic directions.In 1630, four years after the death of his first wife, the 53-year-old painter married 16-year-old H?l?ne Fourment. H?l?ne inspired the voluptuous figures in many of his paintings from the 1630s, including The Feast of Venus (Kunsthistorisches Museum, Vienna), The Three Graces and The Judgment of Paris (both Prado, Madrid). In the latter painting, which was made for the Spanish court, the artist's young wife was recognized by viewers in the figure of Venus. In an intimate portrait of her, H?l?ne Fourment in a Fur Wrap, also known as Het Pelsken, Rubens's wife is even partially modelled after classical sculptures of the Venus Pudica, such as the Medici Venus. In 1635, Rubens bought an estate outside of Antwerp, the Steen, where he spent much of his time. Landscapes, such as his Ch?teau de Steen with Hunter (National Gallery, London) and Farmers Returning from the Fields (Pitti Gallery, Florence), reflect the more personal nature of many of his later works. He also drew upon the Netherlandish traditions of Pieter Bruegel the Elder for inspiration in later works like Flemish Kermis (c. 1630; Louvre, Paris).