This year, in which the National Gallery of Art celebrated its seventy-fifth anniversary, the Center for Advanced Study in the Visual Arts welcomed fellows from Canada, France, Germany, Hungary, Israel, Italy, Japan, the United Kingdom, and the United States. The topics of their research ranged from depicting emotion in Archaic and Classical Greek art to post-apartheid photography in South Africa, from artistic developments during Rome’s “long” Trecento to picturing science in Chinese painting, and from the Italian painter Correggio to postwar modernist architecture in the United States. Read more
The Cubism Seminars
Seminar Papers, Volume 3
Edited by Harry Cooper, 2017
The complex facets of Cubism remain relevant subjects in art history today, a century after Pablo Picasso and Georges Braque developed the revolutionary style. This collection of essays by international experts presents new lines of inquiry, including novel readings of individual objects or groups of works through close visual, material, and archival analysis; detailed studies of how Cubism related to intellectual and political movements of the early 20th century; and accounts of crucial moments in the reception of Cubism by curators, artists, and critics. Generous illustrations of paintings, drawings, and sculptures, some familiar but others virtually unknown, support this wide range of approaches to the pioneering works of Picasso, Braque, Fernand Léger, Juan Gris, and others. Published by the National Gallery of Art and distributed by Yale University Press.
Carlo Cesare Malvasia’s Felsina pittrice: Lives of the Bolognese Painters, vol. 2, pt. 2, Life of Marcantonio Raimondi and Critical Catalogue of Prints by or after Bolognese Masters, 2 vols.
Critical Edition by Lorenzo Pericolo; Introduction, Translation, and Notes by Naoko Takahatake with the Critical Edition of Roger de Piles's Annotations to Malvasia's Festina Pittrice by Carlo Alberto Girotto; with the Support of Mattia Biffis and Elizabeth Cropper, 2017
Malvasia’s life of Marcantonio Raimondi includes Malvasia’s critical catalogue of prints by or after Bolognese artists, from Giulio Bonasone to Giovan Battista Pasqualini. A great connoisseur and avid collector of prints, Malvasia recognizes the intelligence and novelty inherent in Giorgio Vasari’s life of Marcantonio with its list of prints produced by the Bolognese engraver. In republishing Vasari’s life, Malvasia not only adds valuable new information, but also completes Vasari’s list by cataloguing all the prints unnoticed by his Florentine predecessor. Aware of the interest of amateurs and collectors in identifying old and new prints, establishing their states, and building up an exhaustive collection, Malvasia undertakes the groundbreaking task of describing, one by one or by coherent series, the whole corpus of prints executed by or after Bolognese masters as far as he could determine. He describes the subjects of these works accurately, transcribes their inscriptions, specifies their techniques (whether engraving, etching, or woodcut), supplying their measurements in Bolognese once. In listing the works of Bonasone, the Carracci, Giovan Luigi Valesio, Guido Reni, and Simone Cantarini, among others, Malvasia often comments on their technical and aesthetic qualities, resorting to a refined and complex terminology that reveals his profound knowledge of printmaking.
In her introductory essay, Naoko Takahatake explains the historical significance of Malvasia’s innovative production of the first extensive print catalogue, shedding new light on the unique context of Bolognese printmaking in the sixteenth and seventeenth centuries. In her notes, Takahatake identifies over eight hundred prints mentioned by Malvasia, almost all of which are reproduced in color in a separate volume. Underscoring the importance of Malvasia’s critical catalogue for amateurs and collectors, Carlo Alberto Girotto offers a critical edition of the annotations made by the French art theorist Roger de Piles to his own copy of the Felsina pittrice (now in the library of the Institut National d’Histoire de l’Art, Paris). At the end of the translation and notes, Lorenzo Pericolo publishes the sections of Malvasia’s Scritti originali (Ms. B16, Biblioteca Comunale dell’Archiginnasio, Bologna) relating to Bonasone.
Chinese Painting and Its Audiences
Bollingen Series XXXV: 61
Craig Clunas, 2017
What is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences, which is based on the 2012 A. W. Mellon Lectures in the Fine Arts, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures, some of them discussed here in English for the first time, to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. Richly illustrated, Chinese Painting and Its Audiences demonstrates that viewers in China and beyond have irrevocably shaped this great artistic tradition.
Bosch and Bruegel: From Enemy Painting to Everyday Life
Bollingen Series XXXV: 57
Joseph Leo Koerner, 2016
Joseph Koerner casts the paintings of Hieronymus Bosch and Pieter Bruegel in a completely new light, revealing how the painting of everyday life was born from what seems its polar opposite: the depiction of an enemy hell-bent on destroying us. Supreme virtuoso of the bizarre, diabolic, and outlandish, Bosch embodies the phantasmagorical force of painting, while Bruegel, through his true-to-life landscapes and frank depictions of peasants, is the artistic avatar of the familiar and ordinary. But despite their differences, the works of these two artists are closely intertwined. Elegantly written and abundantly illustrated, the book is based on Koerner’s 2008 A. W. Mellon Lectures in the Fine Arts series Bosch and Bruegel: Parallel Worlds.
A Generous Vision II: Samuel H. Kress Professors, 1995–2016 (PDF 15MB)
Edited by Therese O'Malley, with an introduction by Elizabeth Cropper, 2016
Published on the occasion of the 75th anniversary of the National Gallery of Art, this volume updates A Generous Vision: Samuel H. Kress Professors, 1965–1995. This new record of achievement for the years 1995–2016 is intended to reflect the previous volume in spirit and structure, with a short reminiscence about each Kress Professor by someone who was in residence as a young scholar at CASVA during the professor's term.
The Civil War in Art and Memory
Studies in the History of Art, Volume 81
Edited by Kirk Savage, 2016
Reflecting on the sesquicentennial of the American Civil War, this book brings together a range of media and perspectives that show how the conflict has been recorded and remembered over time. Fifteen essays by scholars in a variety of disciplines explore visual representations of the war and its remembrance from the mid-nineteenth century to the present. The text is organized in four sections on the themes of home, the battlefield, public space, and heroism. Within these, famous images such as Antietam battlefield photography are presented in a new light, and discussions of lesser-known works—ranging from newspaper illustrations to stained glass windows to public sculpture—underscore their contemporary relevance to the war’s most problematic legacies. Four of the essays focus on one of the central commemorations of the war, Augustus Saint-Gaudens’s memorial to Robert Gould Shaw in Boston, and its multiple meanings and interpretations.
Modernism and Landscape Architecture, 1890–1940
Studies in the History of Art, Volume 78
Edited by Therese O'Malley and Joachim Wolschke-Bulmahn, 2015
The study of modernism in landscape architecture was long centered on well-known works of a few master designers and architects following War World II. This latest volume in Studies in the History of Art documents the broader cultural contribution of landscape architecture in the crucial period from 1890 to 1940. During these decades landscape architects organized as a profession distinct from art and architecture and brought a variety of theories and aspirations to designing for new lifestyles, urban growth, reinforcement of national identity, natural conservation, land use planning, and other challenges posed by rapid change. Twelve essays seek to identify the definition and significance of landscape modernism in examples from Germany, Belgium, Switzerland, Italy, Spain, England, the Czech Republic, Slovenia, Argentina, and the United States.