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Will be shipped from US. Brand new copy.

These substantial volumes on art periods vividly portray the most important achievements from the areas of European architecture, sculpture, and painting. The impressive photographs of works from all visual arts movements are at the center of these richly illustrated volumes. The books successfully provide an overview of the artistic diversity of the individual periods, and they couldn't have been written and illustrated any more clearly. The informative and interesting texts have been written by renowned authors from the fields of history, architecture and art history, providing a multifaceted view of each period. These books are a real pleasure for anyone with an interest in art.

Neoclassicism, as a return to the forms and ideals of ancient art and Romanticism as an intellectual attitude, are no longer seen as mutually exclusive alternatives. Looking specifically to Europe, the United States, and Russia, the authors of The Essence of Culture: Neoclassicism and Romanticism have selected the notion of subjectivism as the common denominator that links the visual arts and architecture between the Rococo and Realism periods. A conscious decision was made to extend the time period under consideration to 1848 in order to be able to present painters as widely varied as Johann Heinrich Füssli, John Constable, William Turner, William Blake, Caspar David Friedrich, Philipp Otto Runge, and Francisco de Goya within this sumptuously illustrated book.

From the Publisher This wonderfully illustrated book offers the reader a richly detailed exploration of European art in the eighteenth century. The age of the Enlightenment is traced from its origins in France, and the creation of the Academy, to the revival of the Arcadian dream and the exuberance of the Venetian scene. Works of art are given full-page illustrations, with detailed enlargements that further reveal technique and content. These images capture an age that produced an extraordinary range of styles and subjects, including the splendor of the courts, magnificent landscapes and the raging storm of the Revolution. It is difficult to find a single definition to encapsulate European art in the eighteenth century. The architecture of the period inherited all the magnificent convolutions of the Baroque but they were interpreted with a lighter and more graceful touch. Painting, too, appeared to accept the exuberance of the Baroque, but quieted it down. Canaletto, Bellotto and Guardi produced wonderful "stills" of a contented Europe that were later known as "rococo." In England, architecture turned towards the severe Palladian style and painting became biting social satire under Hogarth's brush. The French philosophers of the Enlightenment proposed a new social order based on the supremacy of reason, and classical form was considered the most effective way of giving the new credo expression in the visual arts. The excavation of the sites at Herculaneum and Pompeii fueled this enthusiasm. Intellectuals from all over Europe set out on the Grand Tour to Italy, collecting curios. Neoclassicism takes the reader on a dazzling visual journey through this unique time of artistic splendor and turbulent social upheaval.

Text: English (translation) Original Language: Italian

When Crown Prince Gustaf returned from Versailles in 1771 to ascend the throne of Sweden, he was determined to give his country a leading place in Europe culturally as well as politically. The style he fostered -- Neoclassicism -- was itself an international movement; there are echos in the interiors displayed here of the Louis XVI and Empire modes. Pieces of furniture may reflect French, English, or German influences, or be copied from objects discovered at Pompeii -- but all are suffused by a distinctively Swedish freshness and the northern light.From royal salons to modest spatter-painted Biedermeier halls, Hakan Groth and Fritz von der Schulenburg open the doors on an astonishing sequence of interiors; some, intensely private, are little known even in Sweden. The evocative photographs, all specially taken for this book, present in detail the decoration and furnishings of twenty houses and apartments. The text traces the evolution of the Neoclassical style in Sweden, placing it in its wider European context, and explores each of the buildings and its history. Plans, and original drawings by the architects and designers, complete the picture.These beautiful interiors are of unique value today not only as treasure houses of superb craftsmanship but also as a stimulus to contemporary decorators, and as a reminder that an international language can be spoken in a delightfully personal way.

2007 softback book in New Condition. Shelve D-12

The period of Neoclassicism in the visual arts was an age of Classical revival, drawing directly on antiquity itself. At a time when archaeologists were making fresh dicoveries and The Grand Tour of ancient sites in the Mediateranian was in vogue, Neoclassicism flourished and spread in all directions as far as St Petersburg, Philadelphia and Sydney.

Neoclassicism, as a return to the forms and ideals of ancient art and Romanticism as an intellectual attitude, are no longer seen as mutually exclusive alternatives. Looking specifically to Europe, the United States, and Russia, the authors of The Essence of Culture: Neoclassicism and Romanticism have selected the notion of subjectivism as the common denominator that links the visual arts and architecture between the Rococo and Realism periods. A conscious decision was made to extend the time period under consideration to 1848 in order to be able to present painters as widely varied as Johann Heinrich Füssli, John Constable, William Turner, William Blake, Caspar David Friedrich, Philipp Otto Runge, and Francisco de Goya within this sumptuously illustrated book.

Here is a rich, informative introduction to an exciting period in art history. Neoclassicism, which arose during the 18th century’s Age of Enlightenment, was inspired by the rationality, simplicity, and grandeur of ancient Greece and Rome. In fact, many of its greatest works reflect archaeological discoveries of the time. In reaction to this austere style, Romanticism sought to re-infuse art with passion, drama, and mysticism. Here are the key masterpieces of both schools works by Canova, Constable, Copley, David, Blake, Delacroix, Géricault, Turner, Ingres, and others complete with biographies of the artists, and accompanied by a text that illuminates the ideas and events that shaped an era of artistic ferment. 

2nd printing. Folio Sized. A FINE Hardcover with a FINE dustjacket. AS NEW. All dustjackets wrapped in Archival protection, and delivery confirmation with all our orders!

These substantial volumes on art periods vividly portray the most important achievements from the areas of European architecture, sculpture, and painting. The impressive photographs of works from all visual arts movements are at the center of these richly illustrated volumes. The books successfully provide an overview of the artistic diversity of the individual periods, and they couldn't have been written and illustrated any more clearly. The informative and interesting texts have been written by renowned authors from the fields of history, architecture and art history, providing a multifaceted view of each period. These books are a real pleasure for anyone with an interest in art.

This comprehensive volume provides readers with multi-faceted insights into the full abundance of all the movements and schools of art between 1750 and 1848. It presents a comprehensive overview of the development of Neo-classicist and Romantic art in Europe and North America. It features illuminating excursions into areas such as the foundations of Neoclassicism in the Renaissance architecture of Andrea Palladio (1508-1580). It discusses European painting between two revolutions: the development of painting in France from Jacques Louis David through to Jean-Auguste-Dominique Ingres and his antipode, Eugene Delacroix. It is richly illustrated with photographs taken exclusively for this book. Neoclassicism, as a return to the forms and ideals of ancient art, and Romanticism, as an intellectual attitude, are no longer seen as mutually exclusive alternatives.

Between 1760 and 1800, British aristocrats became preoccupied with the acquisition of ancient Greek and Roman artifacts. From marble busts to intricately painted vases, these antiquities were amassed in vast collections held in country houses and libraries throughout Britain. In Fabricating the Antique, Viccy Coltman examines these objects and their owners, as well as dealers, restorers, designers, and manufacturers. She provides a close look at the classical revival that resulted in this obsession with collecting antiques. Looking at the theoretical foundations of neoclassicism, Coltman contends this reinvention of ancient material culture was more than a fabrication of style. Based in the strong emphasis on classical education during this time, neoclassicism, Coltman claims, could be more accurately described as a style of thought translated into material possessions. Fabricating the Antique is a new take on both well-known collections of ancient art and newly cataloged artifacts. This book also covers how these objects—once removed from their original context—were received, preserved, and displayed. Art historians, classicists, and archaeologists alike will benefit from this important examination of British eighteenth-century history.

Between 1760 and 1800, British aristocrats became preoccupied with the acquisition of ancient Greek and Roman artifacts. From marble busts to intricately painted vases, these antiquities were amassed in vast collections held in country houses and libraries throughout Britain. In Fabricating the Antique, Viccy Coltman examines these objects and their owners, as well as dealers, restorers, designers, and manufacturers. She provides a close look at the classical revival that resulted in this obsession with collecting antiques. Looking at the theoretical foundations of neoclassicism, Coltman contends this reinvention of ancient material culture was more than a fabrication of style. Based in the strong emphasis on classical education during this time, neoclassicism, Coltman claims, could be more accurately described as a style of thought translated into material possessions. Fabricating the Antique is a new take on both well-known collections of ancient art and newly cataloged artifacts. This book also covers how these objects—once removed from their original context—were received, preserved, and displayed. Art historians, classicists, and archaeologists alike will benefit from this important examination of British eighteenth-century history.

The most comprehensive best selling anthology of its kind, the second volume in this two-part survey enables leaders to choose among the most important canonical and less-familiar texts of the Western literary tradition in Europe and the Americas. It offers complete texts whenever possible, uses the best translations of foreign-language material, and, when appropriate, presents more than one text by each author. Volume Two provides detailed historical and biographical notes and introductions to the later literary periods including Neoclassicism and Romanticism; Realism and Naturalism; and Modern and Contemporary.

This publication focuses on Messerschmidt's famous character heads, which rendered, with great precision, his distorted face and whose expressive intensity places them amongst the masterpieces of 18th century sculpture.

250 pp. Fo. Printed hardcovers, gilt lettering. Full color images throughout. Small bump to head of spine, pristine otherwise.

A clean and sharp hardback first edition in a clean dust jacket, which is protected by a non-adhesive transparent sleeve. 112 numbered pages. Plates at rear. There is a tiny red circular sticker attached to the dust jacket in the top right-hand corner of the upper cover (beneath the protective sleeve), but overall this is a very good hardback copy. This slim volume will be properly packed. Nb. This volume came from a private collection and the small circular sticker was the private owner's reference tool.

Charles-Louis Clérisseau (1721-1820), the French architect, archaeologist, and artist, occupies a unique position in the genesis and wide-ranging adoption of neoclassical architecture during the second half of the eighteenth century. His skillful drawings in particular of ancient decorative details, of real and imaginary ruins, and of ancient-style buildings - helped create a style that was to influence such notable figures as Catherine the Great and Thomas Jefferson. Clérisseau's vision of antiquity as the basis for a new architecture is eloquently expressed in the 169 drawings reproduced here. Thomas McCormick's book is the first comprehensive and balanced study of Clérisseau. It carefully charts his role in the creation of neoclassicism in Italy and its diffusion to France, Germany, England, Russia, and the United States. McCormick describes the influence on his work and development of Clérisseau's relationships to the architects Giovanni Battista Piranesi and Johann Joachim Winckelmann and to his students William Chambers and Robert Adam, among others. It was during his stay in Italy with Adam that Clérisseau made many of the unusually beautiful and sensitive drawings of antique forms that are among the more than 100 now in the Hermitage Museum, Leningrad. McCormick also clarifies Clérisseau's muchdebated role in the design of the state capitol in Richmond, Virginia. Thomas McCormick is Professor of Art at Wheaton College. An Architectural History Foundation Book.