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As well as studying Giotto, Altichiero had also looked at Simone Martini, hence the glory of Sienese color here -- the pinks, the blues, and the pale yellows. The circle of people involved in this terrible act is put into perspective by the upper half of the picture: Land and city will endure long after the sorrows of this martyrdom have passed away. This shows the pagans' attempt to execute him on the torture wheel. The martyr, in the center of the picture, is strapped to the wheel, which is visibly exploding to the astonishment and horror of those who have assembled to see the death.

St George is poised to spring upwards, like a diver in reverse, to that world above -- the world to which he aspires. On one side, Christ blesses and pardons; on the other, He encounters His judges. Both images of Christ reflect events in the life of St George. Andrea del Sarto b. It is an engrossing quality, highlighting the splendor of his color and suggestive of meaning and mystery.

The Madonna of the Harpies takes its name from the two extraordinary little creatures with splayed legs and gaping mouths that so strangely adorn the pedestal on which the Virgin is standing. The harpies' malevolence, however curbed, seems to affect the little angels who balance the Virgin as if she were about to teeter unsteadily on her plinth. Despite the large and agile Child wriggling in His mother's grasp, Mary appears unperturbed.

As the eye travels up the scarlet and blues and pale greens and yellows of her garment, the face we come to is one sunk in that reverie that is also peculiar to the artist. Two saints flank the Virgin: St Francis, sad and thoughtful, gazing not at us, but past us; and, on the other side, St John with his gospel. It is a grand composition, bright and glorious, and yet perhaps the most significant element in it is the darkness behind the Virgin -- the great hollow that suggests far more than is visible.

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This St John is unusual in his colorful splendor. He stems to wrestle with the book that he props up on one muscular leg, and we see the tension of the veins of his hands, perhaps in contrast to the quiet grace with which his counterpart, St Francis, holds the simple crucifix. As we can see from the Virgin's pedestal, the harpies are insistently female. They are creatures from Greek mythology winged and voracious, destructive enemies of life. Andrea del Sarto has turned them into stone, leeched them of color, and made them serve as footstool to a divine goodness. This faint element of melancholy, of genius unfulfilled, seems to have infused much of his work.

This young man -- holding either a book or a stone to be sculpted -- turns towards us with that melancholy that the artist seems to know from within. It is a fine, noble face but not a happy one. The angel, luminous in pinks and golds with a ravishingly pale-blue underskirt, bows with beautiful humility before the meek and receptive Virgin. Her pinks are softer than his, her blue more defined. Gabriel's golden hair froths with angelic freedom; hers sits tightly to her neat little head. On her knee is the prayer book with which she was occupied before the summons reached her. Fra Angelico shows the wonderful enclosure of the Virgin's purity and, in the top-left corner, the sacred dove of the Holy Spirit.

The great streak of light symbolizes the moment of the Immaculate Conception -- the incarnation of Christ. With a sophisticated subtlety that is often overlooked in Fra Angelico's work, the angel has a single foot and the tips of both wings protruding out of the Virgin's sanctuary into that wild world from which she has secluded herself. Nature and the supernatural are not, after all, as separate as they may appear.

Apart from the angel, Virgin, and bird, there is no living plant or creature within Mary's enclosure; outside, the world riots with life and fertility, with flower and tree, with an undisciplined vegetative force. Pathetic and lost, Adam and Eve move out into the unknown. Two archangels appear in this picture. In the distance, the Archangel Michael can be seen tenderly ushering our first parents, Adam and Eve, out of Eden and into the world; in the center of the picture, Gabriel joyously ushers the Son of God into the womb of His mother.

We see Mary and St Dominic rapt in prayer, and behind them the image forming in their minds of the mocking of Christ on the way to His crucifixion. The objects of torment have been abstracted, reduced to their essence. He had studied in the Netherlands, and was probably the first to unify the luminosity of oil with the wonderful understanding of the human body that the Italians had pioneered. What makes his Virgin Annunciate such a remarkable image is the fact that Antonello has completely done away with the angel -- it is us Mary faces, and we, however unworthy, are forced into the angelic position and are met not with dismay but with an almost daunting self-possession.

This is the face of a completely adult woman. She turns from her prayer book, not merely to welcome the angel with that uplifted hand, but perhaps even to quell him, to restrain the heavenly enthusiasm with which she is being greeted. A woman of such serene resolution may well have made up her mind as to what answer is required of her before the angelic act got under way.

It is that concentration of strong clear outline and of an interior dynamic force that makes this picture so unforgettable. Antonello paints with a tenderness and an interior glow that was new in Italian art. Light lingers around his figures, enhancing their sculptural solidity with an almost romantic softness. Mary is presented to our gaze almost full on, face to fact, clear and simple against a black background, suggesting that her past is insignificant compared with her future. A rather suspicious fellow perhaps, this young unknown, and yet he has no call to be suspicious of the artist.

Authority is stamped on every line of the portrait. Antonello has responded with a sensitive awareness of light and shade, and an even deeper awareness of the hidden reserves of character. This is unmistakably a specific and unique individual. It is a work of uncommon power and vitality. Christ plunges forward with rough peasant force, poking one strong finger into the blind man's eye; as He does so, the effect is mirrored on the faces of the bystanders. We know from their expressions that a blind eye has opened, that with a vigorous jab of divinity, Jesus has worked a miraculous healing. The setting's rough reality comes across with extraordinary simplicity and force.

As an image of what it means to be cured by an influx of transcendent power, this could hardly be bettered. The expression on Christ's face tells us that this is no easy miracle, and although His methods are crude, He is as intent and focused as a surgeon.

The cost to Him is almost tangible. Audubon, John James b. Audubon was a pupil of the great French artist, Jacques-Louis David, but he fled to the United States to avoid conscription in Napoleon's army. He made a living in the New World as an artist, hunter, and taxidermist.

Unfortunately, the very nature of bird are usually means that the subject must first be dead in order to be painted -- as is almost certainly the case here. Audubon's skill is to set the bird in a context that makes us conscious of what this creature was like when living.

The arctic tern, swooping like a dive-bomber into the dark seas to spear its fish, is a remarkable image. It is one of 1, studies of birds that Audubon painted from life, and which were published in in four volumes entitled The Birds of America. Auerbach, Frank - b. Germany, active England E. His models are exceptionally few, mainly two women, both of whom are dear to him.

Nevertheless, it is clear that they are a pretext, as it were, for a superb and sensitive indulgence in the act of painting itself. Of the almost countless images of E. Auerbach's relationship with paint is clearly an abiding passion: Ironically, Auerbach's images seem to belong to the subject more than they belong to the artist; they retain a privacy behind the fluid and intensely-worked surface of paint, with which Auerbach is so obviously obsessed.

Auerbach's images emerge and disappear; they will not stay still for us to visually digest them. VI So thickly has the paint been applied here that it seems almost chiselled from stone. The intensity of the head is striking, but there is also great subtlety in the texture of the paint, the peaks and hollows of which catch the light to give added vitality.

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Avercamp, Hendrick b. He was known locally as "de stomme van Kampen" the mute of Kampen. Visually speaking, Avercamp seems to have had one great emotional experience: The transformation of a normal world into an icy hardness must have brought profound astonishment, yet he paints it with such infectious delight that it is hard to imagine how little of this pleasure he could physically have shared.

Almost from the beginning, he seems to have known what he wanted to paint, and that was scenes of winter with small contented figures skating on the ice. The air is always chill but the atmosphere is strangely relaxed. Here, he brings us close to the frozen river, where ships have lost their freedom and all trading activities have come to a relative standstill. Over half the picture shows the bleak winter sky, but it is punctuated by the brave folly of masks and flags that have lost their function.

What is so striking about the small groups of people is their animation and their separateness. The groups are all small -- twos and threes. Even through the extremity of cold the townsfolk remain separate, each engrossed in an activity that is private to himself. However, there is no sense of exclusion in this delightful painting. This is where a NeoClassical frame drifts indefinably into the category of a NeoClassical revival, from Regency towards Victorian, from purity into greater opulence. They also note evidence for other works in revival Rococo frames which have since been reframed: Agrippina landing with the ashes of Germanicus ; thereby also revealing how relatively recently the original frames of so many paintings could be carelessly dispensed with.

William Parrott post , Turner on Varnishing Day , c. Agrippina landing with the ashes of Germanicus , exh. Paul Getty Museum , Los Angeles.

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The authors point out that this disruption may perhaps be remedied where there is enough evidence to support the making of a replica frame; for example, Modern Rome…, the pendant of Ancient Rome… , still retains its original Rococo setting, which could be reproduced for the painting in the Tate [14]. They illustrate an example — the original Rococo revival frame of The death of Actaeon , c.

Turner, The departure of the Trojan fleet , exh. One painting from the series had apparently been destroyed, and the others had been reframed in 20th century reproductions. Turner, Mercury sent to admonish Aeneas , exh.

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  7. Having been restored, this original frame was then copied for the two remaining paintings from the series, so that now all three are recognizably as Turner would have wanted them to be seen. The replicas are as authentic as possible:. Ninety-six reproductions, mostly in color many of them for the first time , illustrate this personal view of an artist who shunned the prosaic tendencies of his age to focus on an alternative realm inspired by poetry and legend.

    Drawing on the artist's own letters and commentary, the author looks at the course of his life, the enduring themes in his work, and his quest for an aesthetic ideal. She traces his career from his discovery of art to his momentous and long-delayed professional debut in Abrams October 5, As Ash Sir Lawrence Alma-Tadema , Abrams, maintains here, he was finally regarded as the leader of the subsequent Aesthetic movement, a percursor of Symbolism. Described as the "first monograph in 20 years'' on Burne-Jones, this work is art publishing at its most sumptuous.

    In the 40 oversize plates 14'' x 11'' , Burne-Jones's dark woods and dreaming maidens appear at their most compelling. First published in , this new edition includes 8 pages of color plates and an updated bibliography. Waterhouse by Peter Trippi Hardcover: Phaidon Press October 18, John William Waterhouse is one of the most enduringly popular of the Victorian artists, and paintings such as The Lady of Shalott, Hylas and the Nymphs and Ophelia have become icons recognized the world over.

    With their compelling composition and glowing colour, these paintings are admired for their beauty and for their power to transport the viewer into a romantic world of myth and legend. At the same time, Waterhouse's wistful heroines also reflect the troubled attitudes of nineteenth-century male artists towards women. In this carefully researched new study, Peter Trippi presents a fresh and absorbing analysis of the artist's seductresses, martyrs and nymphs, and the cultural and historical circumstances in which they were produced.

    He also utilizes new research to provide an accessible biography of the artist. Themes explored include Waterhouse's passion for Italy, literature and the classical world, the role of the Royal Academy in his life, his stylistic influences and studio practice, and his relations with collectors, dealers, critics and curators. Neglected throughout much of the twentieth century, Waterhouse has enjoyed a dramatic revival of fortune. Peter Trippi's monograph provides a timely re-evaluation that combines a close reading of Waterhouse's imagery with a candid appraisal of the milieu in which he worked.

    Waterhouse's nymphs, faeries and women are innocent, gorgeous, and fetching, his colors deep, dark and lush, his men heroic and altruistic. If you love PreRaphaelite era art, Romanticism, mythical stories skillfully representated in figure art, this is the book for you. Though I bought the book for the reproductions, I recently read the text and found it helpful.

    The Art of J. Waterhouse are perennially popular. This compact edition brings together a selection of the artist's finest watercolors, depicting scenes from Middle Ages legends and myths of the ancient world. The paintings are accompanied by illuminating explanations of the myths and legends that inspired Waterhouse.

    Tate December 1, In this unusual book readers are given the opportunity to examine works of the Pre-Raphaelites as closely as a conservator would, and to uncover the artistic methods practiced by these painters. Combining modern scientific research-including X-ray and infrared technology, high-level magnification, and material analysis-with commentary from the letters and diaries of the artists themselves, this book explores the innovative techniques behind 20 of their extraordinary works in a way that no previously published study has attempted.

    In addition to extensive full-color illustrations, many of them large-scale details, this fascinating volume features texts by leading conservators that provide a historical perspective on the works and techniques in question. With just about 20 pages of text of the total pages, it is nearly all photographs with over 50 pages in color. Paul Mellon Center BA August 1, The long and stellar career of John Everett Millais has been framed in terms of his rise to notoriety as an original member of the Pre-Raphaelite Brotherhood followed by a compromising descent into comfortable success as a popular painter and leading figure in the Royal Academy.

    But this dismissal of Millais's post- Raphaelite work overlooks more than forty years of artistic endeavor and distinction. In this book, nine scholars reexamine Millais's entire career from a variety of perspectives, arriving at a new vision of his place in the history of British art and finding that fame and recognition did not represent the end of this important Victorian artist's development.

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    The contributors consider the whole fabric of Millais's work, seeking the patterns of continuity through his career. They acknowledge the significance of Millais's association with the Pre-Raphaelite Brotherhood yet place that brief phase into the context of his entire body of work. Exploring such topics as Millais's position among contemporary artists; his active interests in theater, literature, and science; his life-long love of nature; his role as a celebrity and a popular artist; and his enduring fascination with the poignant specter of mortality, the book presents a portrait of Millais not limited by the parameters of the Pre-Raphaelite movement.

    It is a portrait of a supremely gifted artist, a rival of Frederic Leighton, and a counterpart to Alfred Lord Tennyson. This book is the catalog to the Millais Portrait exhibition debuting at the National Gallery in London and traveling around the United States. It is a much more handsome production than most catalogs. Now in paperback, featuring 55 fine color reproductions.

    John Everett Millais was a child prodigy who entered the Royal Academy at the unprecedented age of eleven; he later rose to prominence as one of the founders of the Pre-Raphaelite Brotherhood. His private life was considered scandalous he ran off with Ruskin's wife , yet he rose to the highest ranks of British society. I believe the book cover to the right is the second volume of this set.

    While many of his paintings, with their extraordinary effects of light and color, are immediately accessible, his mature works incorporate symbolism that cannot be fully understood without a detailed knowledge of his intentions, and the catalogue entries thoroughly explore this.

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    The book presents a new explanation of the development and basic aims of Pre-Raphaelite art as a whole and offers a revealing discussion of the power and importance of the humorous vein and negative spirit that run throughout Brown's work. It also ties Brown's realist approach to British decorative taste at mid-century and redefines his place in the Aesthetic Movement, a cultural trend that dominated the latter half of the nineteenth century.

    In addition, the artist's socialist leanings and nationalistic tendencies, expressed in depictions of workers, children, women, and religious scenes, are set out more fully than in any previous literature on the artist. This is perhaps due to the unfortunate destruction evidently of much of the papers and materials that would give better light to his biography, as well as his partial detraction from oil painting to produce much illustration work.

    No less important, in truth, is likely the fact that he was not one of the most successful of Victorian age painters. Not only that, but it is the only one that I have yet to discover. With this fact in mind, I can only give it the highest of recommendations to anyone fortunate enough to have a similar taste for his work.

    The reproductions are excellent, the biography informative, and the content far more complete than the fragmented references to him to be found elsewhere. Albert Moore was one of the most important late-Victorian artists. He employed the female figure to embody abstract systems of ideal beauty, and created many defining images of the Aesthetic Movement. This book presents a view of the artist's allegedly reclusive personality, and seeks to establish him as a major figure and a significant precursor of Modernism.