This handsomely produced volume, featuring 128 full-page color illustrations, showcases a wide-ranging selection of the most outstanding works from Canada's largest art museum. Each of the pieces chosen for inclusion is introduced by a curatorial specialist, who sets it in its historical context and comments on its meaning and its place in the artist's oeuvre. Pride of place is given to the Gallery's unparalleled holdings in Canadian art, but European art--paintings, sculptures, prints, and drawings--is equally well represented. Masterworks from the Inuit art collection are also included, as well as examples from the Gallery's small but distinguished Asian collection. In recent decades, photographs have become an increasingly important part of the Gallery's collecting mandate, both through its own collection and that of its affiliate the Canadian Museum of Contemporary Photography, and this emphasis too is amply reflected here.
In this first comprehensive full length study in English on the art of Jan Brueghel the Elder, Leopoldine Prosperetti illuminates how the work of this painter relates to a philosophical culture prevailing in the Antwerp of his time. She shows that no matter what scenery, figures or objects stock the pictorial field, Brueghel's diverse pictures have something in common: they all embed visual trajectories that allow for the viewer to craft out of the raw material of the picture a moment of spiritual repose. Rooted in the art of Hieronymus Bosch and Pieter Bruegel the Elder these vistas are shown to meet the expectation of viewers to discover in their mazes a rhetorically conceived path to wisdom. The key issue is the ambition of pictorial images to bring into practice the humanist belief that philosophy and rhetoric are inseparable. This original study analyzes the patterns of thought and recurrent optical tropes that constitute a visual poetics for shifting genres - no longer devotional, yet sharing in the meditative goal of redirecting the soul toward an intuitive knowledge of what is good in life. This book reveals how everyday life is the preferred vehicle for delivering the results of philosophical pursuits. One chapter is dedicated to Brueghel's innovative attention to the experience of traveling in a variety of wheeled vehicles along the roads of his native Brabant. He is unique, and surprisingly modern, in giving contemporary viewers an accurate account of all the different types of conveyances that clutter the roads. It makes for lively versions of one of his favorite themes: The Traveled Road. By taking the pursuit of wisdom as its theme, the book succeeds in presenting a new model for the interpretation of a range of visual genres in the Antwerp picture trade.
In this first comprehensive full length study in English on the art of Jan Brueghel the Elder, Leopoldine Prosperetti discloses the nature of the philosophical culture of Antwerp at the time, show its importance in the lives of cultivated citizens, and reveals the patterns of thought and visual stratagems by which his landscapes underwrite the pursuit of wisdom. The book presents a new model for the interpretation of a range of visual genres, including various types of landscape, that were popular in the Antwerp picture trade.
George Inness (1825-94), long considered one of America's greatest landscape painters, has yet to receive his full due from scholars and critics. A complicated artist and thinker, Inness painted stunningly beautiful, evocative views of the American countryside. Less interested in representing the details of a particular place than in rendering the "subjective mystery of nature," Inness believed that capturing the spirit or essence of a natural scene could point to a reality beyond the physical or, as Inness put it, "the reality of the unseen." Throughout his career, Inness struggled to make visible what was invisible to the human eye by combining a deep interest in nineteenth-century scientific inquiry—including optics, psychology, physiology, and mathematics—with an idiosyncratic brand of mysticism. Rachael Ziady DeLue's George Inness and the Science of Landscape—the first in-depth examination of Inness's career to appear in several decades—demonstrates how the artistic, spiritual, and scientific aspects of Inness's art found expression in his masterful landscapes. In fact, Inness's practice was not merely shaped by his preoccupation with the nature and limits of human perception; he conceived of his labor as a science in its own right. This lavishly illustrated work reveals Inness as profoundly invested in the science and philosophy of his time and illuminates the complex manner in which the fields of art and science intersected in nineteenth-century America. Long-awaited, this reevaluation of one of the major figures of nineteenth-century American art will prove to be a seminal text in the fields of art history and American studies.
In this daylong symposium, a group of international experts and scholars of nineteenth-century art gathered to discuss Courbet's landscape oeuvre and debate his contribution to the history of modern painting, in conjunction with the exhibition Courbet and the Modern Landscape. The preface by Mary Morton and five papers presented here comprise the J. Paul Getty Museum's first online-only publication.