Item description for Art in Rome in the Eighteenth Century by Edgar Peters Bowron...
Grand work sof art in all media-oil and fresco, bronze and marble, terracotta, and porcelain, drawings and prints,t extiles, silver and mosaic, jewlery and furniture-were created in Rome during the eighteenth century to embellish Roman churches, palaces, fountains piazzaz, gardens, and galleries, as well as for export. This definitive history of eighteenth-century Roman art, architecture, and decorative art captures the grand scale of diverse artistic expression of this century and documents the fashion of Neoclassicism that it inspired.
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Studio: Merrell Publishers
Est. Packaging Dimensions: Length: 11.42" Width: 9.45" Height: 1.91" Weight: 6.65 lbs.
Release Date Jan 1, 2003
ISBN 1858940982 ISBN13 9781858940984
Availability 0 units.
More About Edgar Peters Bowron
Edgar Peters Bowron is Audrey Jones Beck Curator of European Art at the Museum of Fine Arts, Houston. Carolyn Rose Rebbert is Curator of Science at the Bruce Museum of Arts and Science, Greenwich, Connecticut. Robert Rosenblum is Henry Ittleson, Jr., Professor of Modern European Art at New York University, and author of "The Dog in Art: From Rococo to Post-Modernism," William Secord is a dog-painting historian and author of "Dog Painting: The European Breeds" and "Dog Painting 1840-1940: A Social History of the Dog in Art," among others.
Reviews - What do customers think about Art in Rome in the Eighteenth Century?
Great Oct 25, 2007
Great book. The flaws have been exaggerated by a previous reviewer in my opinion. I would not want to be without it.
A minor let down Dec 8, 2001
A good catalogue of catalogues broad base book, but if you are usedto Konemann books for the same money it is not in the same league.
We are in debt that this period has finally been covered, so a steller effort. The details and research are flawless.
But come on,page 295 fig 102 Carlo Maratti "Triumph of Clemency" a milestone hit of this period by anyones standard, the size of a credit card, in very poor black and white, yet on page 172 we have a commode at least 4 by 4 in full color, in Sotheby auction catalogue format, this book is a catalogue of art objects not an Art book be very aware of the distinction. A lot of really good paintings are black and white, and small while high brow 18th century garage sale objects get full color press.(being a smart ass) I mean didnt Chiari or Conca do some ceilings somewhere, break it into two books, go heavier into the painting and sculpture, enlarge, add, and color more pictures, do some full page details,put the damn furniture under the Home Depot section of another book, and cut down on all the text, we get the picture you are experts ,so can we get the picture.....thank you though it is a great book wonderful coverage.
I apologize a lot of time went into this book I think too many good cooks spoiled the broth,there are so many great paintings from that period we will never see. A great job Thanks for helping all of us get off the Rococo to Impressionist highway at the 18th Century Roman exit.
A SPLENDID TREASURE FOR AFICIONADOS AND SCHOLARS Dec 17, 2000
Rome, forever beckoning, forever fascinating. And, as we're reminded in this landmark volume, Rome during the 18th century was the birthplace of countless art treasures. Such a plethora of richness was due, in large part, to wealthy travelers doing the Grand Tour who eagerly offered patronage, and the flourishing academic environment - the Accademia di San Luca, the French Academy, the Accademia dell' Arcadia.
Thus, a virtual mother lode of work in all media was produced, not only to be shipped to the opulent homes of the visiting aristocrats but to adorn the Eternal City's churches, palaces, fountains, piazzas, and gardens.
It was in this climate that artists such as Canova, Maratti, Piranesi, Baroni, David, and Fuseli flourished. Art In Rome presents some 500 glorious illustrations accompanied by edifying texts penned by some of the world's foremost scholars. It is a volume to savor, to treasure, and to enjoy over and over again.
We find Antonio Canova, perhaps best remembered for his reclining portrait figure of Pauline Borghese as the victorious Venus. Here, we are reintroduced to his skill in the qualities of classicism as shown in "Theseus with the Dead Minotaur."
Originally a stonemason, he turned to sculpture after moving to Venice in 1768. He was to become the most influential sculptor of the Neoclassical period.
There is Maratti (Carlo Maratta), the leading painter in Rome during the late 17th century, and Fuseli, a Swiss-born painter, draughtsman, and writer on art. who came to Italy where he became enthralled with the works of Michelangelo.
The list of artists represented is lengthy; the visual pleasures found in these splendid illustrations are many. Art In Rome captures much that has previously been given scant attention in the annals of cultural history.