Bernini and the unity of the visual arts (The Franklin Jasper Walls lectures)

Lavin, Irving

[Published for] Pierpont Morgan Library [by] Oxford University Press

A fascinating exploration of art from the Renaissance to modern times by one of America's most distinguished art historians. Focusing on specific masterpieces like Michelangelo's David, Bernini's image of the Sun King, and Picasso's lithographs of bulls, Lavin addresses creations that seek to define the present expressly in terms of the past. "I am an inveterate source-monger. My work, i.e., the actual labor I expend in archives, libraries, museums, churches, etc., is mainly that of a prospector digging and sifting to find a rare and shiny nugget—a work of art, a significant text, an idea—sufficiently analogous and available to suggest it might actually have been pertinent to the matter at hand." Thus does Irving Lavin venture forth, and the treasures he finds are brought back to us in these seven essays. The past plays an explicit role in his explorations. In focusing on specific works such as Donatello's bronze pulpits in San Lorenzo, Bernini's image of the Sun King, and Picasso's lithographs of bulls, Lavin addresses creations that seek to define the present expressly in terms of the past. Also, he persuasively shows how art can portray human individuality within philosophical, religious, political, ideological, and cultural frameworks. Originally delivered as part of the Una's Lectures at the University of California, Berkeley, the essays show the richness of the artists' sources by tracing certain motifs and traditions back in time. Generously accompanied by photographs that illustrate Lavin's explorations, this is a work of importance to both art historians and lovers of art.

Past-Present: Essays on Historicism in Art from Donatello to Picasso (Una's Lectures)

Arts & Photography

History & Criticism

University of California Press

The description for this book, Drawings by Gianlorenzo Bernini: From the Museum der Bildenden Kunste, Leipzig, German Democratic Republic, will be forthcoming.

Drawings by Gianlorenzo Bernini: From the Museum der Bildenden Kunste, Leipzig, German Democratic Republic (Publications of the Art Museum, Princeton University, 15)

Princeton University Press

Three essays explore three great masterworks of European art that visualize the relationship between spiritual and physical love expressed passionately and graphically in the biblical Song of Songs. Marilyn Aronberg Lavin writes on Cimabue's vast fresco cycle of the Virgin in the apse of San Francesco in Assisi, at the threshold of the Renaissance, where the Franciscan belief in the bodily Assumption is couched in terms of the Old Testament love poem. Irving Lavin demonstrates how the invocation of love in the Song of Songs molded the form of Michelangelo's Medici Madonna as well as his concept for the entire design and meaning of the Medici mortuary chapel in San Lorenzo, Florence. Writing together, the Lavins reveal the generative power of biblical fulfillment in Rembrandt's famous portrayal of a loving couple, called The Jewish Bride.Marilyn Aronberg Lavin is known for her fundamental work on the history of mural decoration in the churches of Italy, and is the recipient of the coveted Morey Award for Distinguished Scholarship from the College Art Association. Irving Lavin, Professor in the School of Historical Studies, Institute of Advanced Study, Princeton, NJ, is best known for his work on the Italian Baroque sculpture Gianlorenzo Bernini, but his publications range over a wide span of Western art, from Late Antiquity to Jackson Pollock.

The Liturgy of Love: Images from the "Song of Songs" in the Art of Cimabue, Michelangelo, and Rembrandt (Franklin D. Murphy Lectures XIV)

Aronberg-Lavin, Marilyn

Spencer Museum of Art

A wide-ranging survey of the international developments in sculpture since the advent of Modernism.

Earth, Sky, and Sculpture: Storm King Art Center

Pachner, Joan

Stern, H. Peter

Bienstock, Peter A.

Collections, Catalogs & Exhibitions

Storm King Art Ctr

"In the early 1980s, Irving Lavin delivered The Slade Lectures at Oxford University exploring his idea that the Italian fifteenth-century revival of ancient art was an outward sign of fundamental changes in humanitys perception of the inner self. This volume publishes for the first time six essays, which he based on those lectures and which he continued to work on until his death in 2019: Memory and the Sense of Self; On the Sources and Meaning of the Renaissance Portrait Bust; On Illusion and Allusion in Italian Sixteenth-Century Portrait Busts; Great Men Past and Present; Equestrian Monuments; and Collective Commemoration and the Family Chapel"--

The Art of Commemoration in the Renaissance: The Slade Lectures (Studies in Art and History)

Italica Press

As early as the 1950s, Professor Irving Lavin was -recognized as a major voice in American art history. His sustained production of seminal scholarly contributions has left its mark on an astonishingly wide range of subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque artist Gian Lorenzo Bernini (1598-1680). These include new discoveries and studies on the master's prodigious childhood, his architecture and portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the theatre, his attitude toward death and the role of the artist in the creation of a modern sense of social responsibility. All of Professor Lavin's papers on Bernini are here brought together in three volumes. The studies have been reset and in many cases updated, and there is a comprehensive index. Volume 1 Contents: Preface. Review of Rudolf Wittkower, Gian Lorenzo Bernini. The Sculptor of the Roman Baroque Bernini and the Theater Bozzetti and Modelli. Notes on Sculptural Procedure from the Early Renaissance through Bernini Bernini and the Crossing of Saint Peter's Five Youthful Sculptures by Gianlorenzo Bernini and a Revised Chronology of his Early Works Bernini's Death; Afterthoughts on "Bernini's Death" Letter to the Editor on a review by Howard Hibbard of Bernini and the Crossing of St. Peter's Calculated Spontaneity. Bernini and the Terracotta Sketch On the Pedestal of Bernini's Bust of the Savior High and Low Before their Time: Bernini and the Art of Social Satire Bernini's Memorial Plaque for Carlo Barberini Bernini's Baldachin: Considering a Reconsideration Bernini's Bust of Cardinal Montalto; Bernini's Cosmic Eagle Bernini's Image of the Sun King. Introduction.

Visible Spirit: The Art of Gianlorenzo Bernini, Volume I

Pindar Press

As early as the 1950s, Professor Irving Lavin was -recognized as a major voice in American art history. His sustained production of seminal scholarly contributions has left its mark on an astonishingly wide range of subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque artist Gian Lorenzo Bernini (1598-1680). These include new discoveries and studies on the master's prodigious childhood, his architecture and portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the theatre, his attitude toward death and the role of the artist in the creation of a modern sense of social responsibility. All of Professor Lavin's papers on Bernini are here brought together in three volumes. The studies have been reset and in many cases updated, and there is a comprehensive index. Volume II Contents: Bernini and Antiquity - The Baroque Paradox. A Poetical View Bernini's Portraits of No-Body Bernini's Bust of Francesco I d'Este. "Impresa quasi impossibile" Bernini's Bust of the Medusa: An Awful Pun Bernini's Bust of the Savior and the Problem of the Homeless in Seventeenth-Century Rome Bernini's Image of the Ideal Christian Monarch Bernini's Bumbling Barberini Bees Bernini-Bozzetti: One More, One Less. A Berninesque Sculptor in Mid-Eighteenth Century France Bernini's Death Visions of Redemption The Rome of Alexander VII. Bernini and the Reverse of the Medal The Young Bernini "Bozzetto Style": The Renaissance Sculptor's Handiwork The Regal Gift. Bernini and his Portraits of Royal Subjects Urbanitas urbana . The Pope, the Artist, and the Genius of the Place Index.

Visible Spirit: The Art of Gian Lorenzo Bernini, Volume II

Bernini at St. Peter’s may be a unique case in history: a single artist in change of a grandiose monument in a continuous state of creativity under constantly changing patrons and a variety of projects, for nearly six decades. This book argues that a continuous thread of thought may be discerned underlying and connecting the vicissitudes of this spectacular display. From first to last, Bernini conceived of St. Peter’s as a pilgrimage church, a kind of pilgrimage of human life, his own and of the believers who visited the basilica to worship and give testimony. The book is in large format and richly illustrated with 272 colour illustrations. It represents a fitting tribute to the artist and his monument, St. Peter's Basilica Table of Contents Preamble St. Peter's as summa ecclesiarum The apse and crossing The high altar Baldachins and ciboria The baldacchino (1624-35) Paired tombs The tomb of Urban VIII (1627-47) The crossing piers (1627-41) The nave: continuity "Feed my sheep" (pasce oves meas) (1633-46) The tomb of Matilda of Tuscany (1633-44) The nave decoration (1645-9) Ingress – egress The piazza and colonnades (1656-67) Commemoration The cathedra petri (1657-66) The equestrian monument of Constantine and the Scala Regia (1662-70) The tomb of Alexander VII (1671-8) Passage to the Holy City The Ponte Sant’Angelo and Castel Sant’Angelo (1667-71) Consummation The Sacrament Altar (1673-5) The church, the city, and the artist Roma alessandrina: urban unity, public welfare, and universal Christian charity The blood of Christ (1669-70) Bibliography Index.

Visible Spirit: The Art of Gian Lorenzo Bernini, Volume III (Visible Spirit: the Art of Gian Lorenzo, 3)

As early as the 1950s, Professor Irving Lavin was recognized as a major voice in American art history. His sustained production of seminal scholarly contributions have left their mark on an astonishingly wide range of -subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and -students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque artist Gian Lorenzo Bernini (1598-1680). These include new discoveries and studies on the master's prodigious childhood, his architecture and -portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the -theatre, his attitude toward death and the role of the artist in the creation of a modern sense of social responsibility. All of Professor Lavin's papers on Bernini are here brought together in three volumes. The studies have been reset and in many cases up-dated, and there is a comprehensive index.

Visible Spirit: The Art of Gian Lorenzo Bernini (1)

Pindar Pr

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