Botticelli to Tiepolo: Three Centuries of Italian Painting from Bob Jones University

Botticelli to Tiepolo: Three Centuries of Italian Painting from Bob Jones University

Arts & Photography

Zafran, Eric M.

Townsend, Richard P.

Philbrook Museum Of Art

bob-jones-university

History & Criticism

Univ of Washington Pr

<div>Elaborate costumes, intricate patterns, and striking figural forms fill the work of Yinka Shonibare, a world-renowned artist who has roots in both London and Lagos, Nigeria. Shonibare's works reflect aesthetic features of the Victorian age, while undertaking a deep exploration and interrogation of issues tied to colonialism and its aftermath. Within the contemporary context of globalization, his work looks to history and provokes concerns of our present moment. Presenting Shonibare's rich work, this exhibition holds particular significance as the Driehaus Museum's first to feature a contemporary artist. Displayed in the context of a Gilded Age house museum, the exhibition includes a range of Shonibare's photographs, sculptures, and installations. Composed by the seasoned museum director and curator Richard P. Townsend, the catalog offers readers critical commentary on how Shonibare's work weaves together themes of the Gilded Age with today's conversations on society, race, and economic issues.</div>

Yinka Shonibare CBE at the Driehaus

Driehaus Museum

Caravaggio & Tanzio: The theme of St. John the Baptist

Philbrook Museum of Art

Published in conjunction with The Philbrook Museum of Art 1998 exhibition of 42 examples of Turner's work collected from the major London galleries. Also documents a related exhibition, "Near Turner's Point of View: Paintings by J.M.W. Turner and Thomas Moran" and examines the scope and depth of the artistic relationship between the two painters. Six illustrated essays precede the catalogue section in which color reproductions are accompanied by full entries and are placed in context through an overview of the artists' life and aesthetic intentions. No index. Oversize: 10x11.5

J.M.W. Turner "That Greatest of Landscape Painters": Watercolors from London Museums

WILTON, Andrew

Turner, J.M.W.

Individual Artists

J.M.W. Turner, That Greatest of Landscape Painters: Watercolors from London Museums

Review\n"An impressively informative layout that will inspire the reader to revisit the volume time and time again...unreservedly recommended for personal, professional, community, college, and university Fine Arts collections."—Midwest Book Review\nThis beautifully illustrated catalog—celebrating the 70th anniversary of the Bob Jones Collection—presents a fascinating survey of religious European art from the 14th through the 19th centuries. 
Bob Jones Jr. founded the collection as an educational effort and opened it on the campus of the university named after his father in Greenville, South Carolina, in 1951. Those first 25 paintings included works by Bicci di Lorenzo, Luca Giordano, El Greco, and Tintoretto, and today the collection comprises over 400 paintings, as well as a wide range of sculpture, decorative arts, and antiquities. It is widely recognized among scholars as one of the finest collections of Renaissance and Baroque paintings in America, and a document of the revival of the taste for Baroque pictures in the mid-20th century. 
Erin Jones’s introduction provides an overview of the history of the various iterations of the Museum & Gallery, even as it looks forward to a new home in the center of its community. Richard P. Townsend’s essay presents the most in-depth examination to date of Bob Jones Jr. as a collector, extensively using letters, invoices, and photographs to paint a picture of Jones hitherto not available. At the heart of the volume is the presentation of 55 paintings, featuring works by great European masters including Botticelli, Bouts, Cranach, Guercino, Jordaens, Preti, Reni, Ribera, Rubens, Tiepolo, and Zurbarán.

Drama & Beauty: Great European Paintings from the Bob Jones Collection

Jones, Erin R.

GILES

On the 50th anniversary of Picasso's (1881-1973) death, a book devoted to the progressive proofs by the leading Spanish master. While there has been considerable interest in Pablo Picasso's late work over the past several decades, and some of that interest directed at the artist's work in the linoleum print medium, there remains much to discover regarding this aspect of his prodigious printmaking activities, and specifically on the role played by the progressive proof. There has been an uptick in the acquisition of these sets of proofs by museums and private collectors over the past twenty years but exhibitions and published accounts have lagged behind. With this present project we examine for the first time in depth a particularly illuminating set of eight progressive proofs made by Picasso and his printer Hidalgo Arnéra for the artist's first published linocut, the so-called Cranach II (Baer 1053; 1958). The first in a series in the medium of linoleum block prints (after a singular effort in 1939), Picasso created the first Portrait of a Young Girl after Cranach the Younger in two colors and in the same orientation as the Cranach original on 3 July 1958. The following day he commenced making five different linoleum blocks - bistre or grayish brown, yellow, red, blue and black - to be superimposed on each other in that order and in reverse of the original, the Cranach II print. He then proceeded to print different proofs, in the process making two different states of the color blocks and three of the black in order to arrive at the final image. This event touched off a decade of work in linocut (or linoleum block) printmaking, inspired by the South of France, where the artist had increasingly worked since the 1940s. Speaking to the artist's love affair with the region, he begins a series of linocuts depicting the bullfight. Nine proofs for the Pique II (1959) attest to this; the series completed by the finished print.

Picasso and the Progressive Proof: Linocut Prints from a Private Collection

Skira

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