New Exhibition Catalogs

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The Memory of Time: Contemporary Photographs at the National Gallery of Art, Acquired with the Alfred H. Moses and Fern M. Schad Fund
Sarah Greenough et al.

In the decades since 1990 the concepts of time and memory have made a strong return in the work of many photographers who seek not simply to reflect the world, but to illuminate how photography constructs our understanding of it. The Memory of Time explores the work of 26 contemporary artists from across the world — Sophie Calle, Moyra Davey, Idris Khan, Sally Mann, Susan Meiselas, Mikhael Subotzky and Patrick Waterhouse, Hiroshi Sugimoto, and Carrie Mae Weems among them — who investigate the richness and complexity of photography’s  relationship to time, memory, and history.

Unlike many mediums, photography possesses the remarkable ability to represent the past in the present, yet its relationship to the past is by no means straightforward. Many photographs seem to depict a singular moment in time, when in reality each image contains multiple layers: the instant of exposure, the moment of viewing, and the lapse in between. From a shared fascination with photography’s past to an engagement with the literal passage of time and the fleeting evidence of cultural change, these 76 works examine how photographs not only evoke our time and place but also create powerful visual histories of our relationship with the land, ourselves, and each other.

172 pages | 130 illustrations | 9.625 x 10.75 inches

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  • The Memory of Time: Contemporary Photographs at the National Gallery of Art, Acquired with the Alfred H. Moses and Fern M. Schad Fund Exhibition Catalog /content/dam/ngaweb/features/slideshows/Memory of Time Exhibition Catalog/memory-of-time-ss-03.jpg
  • The Memory of Time: Contemporary Photographs at the National Gallery of Art, Acquired with the Alfred H. Moses and Fern M. Schad Fund Exhibition Catalog /content/dam/ngaweb/features/slideshows/Memory of Time Exhibition Catalog/memory-of-time-ss-04.jpg
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  • The Memory of Time: Contemporary Photographs at the National Gallery of Art, Acquired with the Alfred H. Moses and Fern M. Schad Fund Exhibition Catalog /content/dam/ngaweb/features/slideshows/Memory of Time Exhibition Catalog/memory-of-time-ss-06.jpg
  • The Memory of Time: Contemporary Photographs at the National Gallery of Art, Acquired with the Alfred H. Moses and Fern M. Schad Fund Exhibition Catalog /content/dam/ngaweb/features/slideshows/Memory of Time Exhibition Catalog/memory-of-time-ss-07.jpg
  • The Memory of Time: Contemporary Photographs at the National Gallery of Art, Acquired with the Alfred H. Moses and Fern M. Schad Fund Exhibition Catalog /content/dam/ngaweb/features/slideshows/Memory of Time Exhibition Catalog/memory-of-time-ss-08.jpg
  • The Memory of Time: Contemporary Photographs at the National Gallery of Art, Acquired with the Alfred H. Moses and Fern M. Schad Fund Exhibition Catalog /content/dam/ngaweb/features/slideshows/Memory of Time Exhibition Catalog/memory-of-time-ss-09.jpg
  • The Memory of Time: Contemporary Photographs at the National Gallery of Art, Acquired with the Alfred H. Moses and Fern M. Schad Fund Exhibition Catalog /content/dam/ngaweb/features/slideshows/Memory of Time Exhibition Catalog/memory-of-time-ss-10.jpg
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Drawing in Silver and Gold: Leonardo to Jasper Johns
Stacey Sell and Hugo Chapman et al.

From the Middle Ages to the present, master draftsmen including Leonardo, Dürer, Raphael, and Rembrandt have used metalpoint to create some of the most beautiful and technically accomplished drawings in the history of art. Drawing in Silver and Gold examines the history of metalpoint from the fourteenth century to the present day, incorporating new scientific analysis, revealing patterns of use, and offering a striking demonstration of the medium’s range and versatility. The authors address variations in practice over the course of centuries and within different schools. Their essays offer reappraisals of the famous metalpoints of the Renaissance and shed new light on infrequently studied periods, such as the seventeenth century and the Victorian silverpoint revival.

As a new examination of a rich but sometimes misunderstood medium, this publication brings forth fresh interpretations of metalpoint and will provide a lasting reference for scholars. The exquisite reproductions highlighting examples of this technique will appeal to a wide range of audiences.

224 pages | 130 illustrations | 9.5 x 11.5 inches

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Piero di Cosimo: The Poetry of Painting in Renaissance Florence
Gretchen Hirschauer and Dennis Geronimus et al.

Born in 1462, an auspicious time for hopeful young painters in Renaissance Florence, Piero di Cosimo left the city’s artistic landscape forever changed upon his death in 1522. A contemporary of luminaries such as Botticelli, Leonardo, and Michelangelo, Piero was esteemed in his day as a creative spirit of uncommon imagination, his fantastic inventions rivaling the verses of the ancient poets whose myths and allegories he set out to transform in a strange language all his own. As his impressive list of patrons attests, Piero used his creative license to great advantage, concocting elaborate fables, some of whose meanings continue to beguile us. Once adorning the private palaces of wealthy merchant-bankers, these surreal myths proved as irresistible as a siren’s song to Salvador Dalí and Max Ernst five centuries later. But fantasy was not Piero’s only preserve. Equally appealing to his prospective Renaissance clients was his versatility as a painter of both sacred and profane styles and subjects. This artistic range will be on display at the National Gallery of Art in the first-ever retrospective of Piero’s astonishing career, an exhibition that will finally introduce the public to arguably Renaissance art’s most spellbinding storyteller. The catalog will rely on close technical and textual analysis to argue for specific interpretations and cases of authorship but will also address the broader social and religious functions of image-making in the period.

240 pages | 200 illustrations | 9.5 x 11.5 inches

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Captain Linnaeus Tripe
Photographer of India and Burma, 1854 – 1860

Roger Taylor and Crispin Branfoot

Captain Linnaeus Tripe (1822–1902) occupies a special place in the history of nineteenth-century British photography, not just for his memorable name but for the outstanding body of work he produced in India and Burma between 1854 and 1862 while an officer in the army of the East India Company. His large-format photographs were among the first to document sacred sites of great cultural, architectural, and archeological importance in areas generally inaccessible to Western travelers. Tripe is also exceptional for his artful retouching of negatives to enhance precisely composed images with clouds and other atmospheric effects.

208 pages | 100 illustrations | 11.5 x 11 inches

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Degas/Cassatt
Kimberly A. Jones et al.

Although Edgar Degas's influence upon Mary Cassatt has long been acknowledged, the extent to which Cassatt shaped Degas's artistic production and prepared the way for his warm reception by American audiences is fully examined for the first time. With a focus on the critical period from the late 1870s through the mid-1880s when Degas and Cassatt were most closely allied, this catalog brings together some 70 works in a variety of media to examine the artistic dialogue that developed between these two celebrated impressionists. Groundbreaking technical analysis provides new insight into the intersections within their art in terms of media, methods, and subject matter.

176 pages | 145 illustrations | 9.5 x 10.5 inches

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Andrew Wyeth: Looking Out, Looking In
Nancy K. Anderson and Charles Brock

One of Andrew Wyeth’s most important paintings, Wind from the Sea (1947), is also the artist’s first full realization of the window as a recurring subject in his art. Wyeth returned to windows again and again during the next six decades, producing more than 300 remarkable works that explore the formal and conceptual aspects of looking both in and out of windows. Spare, elegant, and abstract, these non-figural paintings are free of the narrative element inevitably associated with his well-known compositions. This richly illustrated book presents a select group of Wyeth’s tempera paintings—many of them never before published or on public view—along with two essays that explore Wyeth’s fascination with windows.

224 pages | 150 illustrations | 9.5 x 11.5 inches

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Andrew Wyeth: A Spoken Self Portrait
Richard Meryman

Richard Meryman began an enduring friendship with Andrew Wyeth while writing for Life magazine in 1964. Over four decades, he recorded some 600 hours of conversations with Wyeth as well as his family, friends, and neighbors in Pennsylvania and Maine — ​including Christina Olson, subject of Christina’s World. This book offers a taste of those recordings, skillfully crafted by Meryman into five monologues on key themes in Wyeth’s work. We hear Wyeth speak vividly of people and places that triggered memories and emotions to which he gave powerful expression in his art. He shares personal experiences and talks about artists who inspired him and why, revealing profound understanding of these influences. This fascinating book includes reproductions of many works of art discussed by Wyeth in his own words as well as previously unpublished photographs of the artist’s studio taken since his death in 2009.

132 pages | 101 color images | 4.5 x 9.75 inches

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Intimate Impressionism from the National Gallery of Art
Mary Morton

Among the most beloved paintings at the National Gallery of Art are the intimately scaled French impressionist and post-impressionist works collected by Paul Mellon and Ailsa Mellon Bruce. These are pictures the donors bought and lived with in their homes before giving them to the nation, and they inspired gifts of similar works from other generous collectors. The broad appeal of the Gallery’s small French paintings stems from their sense of intimacy — they were made for personal enjoyment and depict quiet interiors, lush landscapes, family groups, people reading, sailing, and visiting the beach. This volume presents some sixty-five luminous works along with an essay high­lighting for the first time Ailsa Mellon Bruce’s role in the formation of the Gallery’s collection.

168 pages | 87 color images | 10.25 x 12.25 inches

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Charles Marville: Photographer of Paris
Sarah Kennel et al.

One of the most talented photographers of the nineteenth century, Charles Marville photographed city scenes throughout France and Germany in the 1850s, explored landscape and portraiture, and became known as the official photographer of Paris during its transition years under Baron Haussmann. His best-known photographs record Paris before and after its medieval streets gave way to the broad boulevards we associate with the City of Light. Yet Marville has long been an enigma. Among many new insights revealed in this meticulously researched monograph is that he was born Charles-François Bossu in 1813 and adopted his pseudonym as a young illustrator in the 1830s. This first comprehensive examination of Marville’s life and career delivers the much-awaited recognition his work deserves.

280 pages | 169 illustrations | 9.5 x 11 inches

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