The sculptures of Tilman Riemenschneider, among the most appealing works of the Middle Ages, stand solidly in the late Gothic tradition yet look daringly forward. This book explores many aspects of Riemenschneider`s art and presents some fifty works representing each stage of his career, including the great altarpieces in Rothenburg on the Tauber, Creglingen, and Maidbronn.

Tilman Riemenschneider: Master Sculptor of the Late Middle Ages

Arts & Photography

Julien Chapuis

Individual Artists

National Gallery of Art, Washington

An American perspective: Nineteenth-century art from the collection of Jo Ann &amp; Julian Ganz, Jr

An American perspective: Nineteenth-century art from the collection of Jo Ann & Julian Ganz, Jr

WILMERDING, John--et al

Studies in the History of Art, Volume 10, Symposium Series I. MacEdonia and Greece in Late Classical and Early Hellenistic Times

Eugene N. Borza

History & Criticism

Gardens on Paper: Prints and Drawings, 1200-1900

Clayton, Virginia Tuttle

"The sculpture of Tilman Riemenschneider stands solidly anchored in the late Gothic tradition, while it also reflects emerging humanist concerns. Riemenschneider, who was active in Wurzburg from around 1483 until 1531, was one of the first sculptors to abandon polychromy on occasion, making a conscious aesthetic decision to leave visible his favored material, limewood. His sculpture strikes a rare balance between formal elegance and expressive strength, and it is among the most appealing work of the late Middle Ages."--BOOK JACKET. "The approximately fifty works documented in this handsome volume offer a fresh look at this great master. The book presents a broad survey of Riemenschneider's oeuvre, including representative work from all periods of his career. Contributors explore the sources for his art, his social milieu and the organization of his workshop, the critical reception of his work, his polychrome and monochrome sculpture."--BOOK JACKET.

MICHAEL BAXANDALL

Jan Lievens (1607–1674) was one of the most fascinating and enigmatic Dutch artists of the 17th century. Daring and innovative as a painter, printmaker, and draftsman, he created powerful character studies, genre scenes, landscapes, formal portraits, and religious and allegorical images that were widely praised and valued during his lifetime. This beautiful book, the first overview of the full range of Lievens’ career, features more than 50 paintings―many of them newly discovered in private collections―and more than 75 prints and drawings, providing a reassessment of his place in the history of art. 
Lievens began his career in his native Leiden, where he worked closely with his compatriot Rembrandt, who admired and collected Lievens’ works. Lievens then moved to London, Antwerp, and Amsterdam, and his peripatetic career and multitude of working styles, say the authors of this book, may explain why his reputation today is not as high as it should be. This book offers a necessary corrective, returning to Lievens the esteem he deserves.

Jan Lievens: A Dutch Master Rediscovered

Arthur K. Wheelock Jr.

Milwaukee Art Museum

Stephanie S. Dickey

Jan Lievens

National Gallery of Art (U.S.) Staff

Museum Het Rembrandthuis (Amsterdam, Netherlands) Staff

Masterpieces, the story goes, spring fully formed from the dark imaginings of temperamental geniuses moved by intuition, inspiration and epiphany. Such revelations can certainly fuel the creative process, but so too can auspicious accidents, false starts and even failures. In printmaking, occurrences ranging from mishaps to premeditated changes are typically recorded in preliminary impressions known as working proofs. Each proof offers an artist the chance to assess and adjust the course of the project; whether it represents the revelation of a crisis, a crossroads or a potential new direction, each proof demands a decision: yes, no, maybe. Featuring 125 working proofs and edition prints produced by 25 artists between 1972 and 2010 at Crown Point Press in San Francisco, one of the most influential printmaking studios of the last half-century, Yes, No, Maybe goes beyond celebrating the flash of inspiration and the role of the imagination to examine the artistic process as a sequence of decisions. Among the artists represented here are those with long ties to Crown Point Press and its founder Kathan Brown--Richard Diebenkorn, John Cage, Chuck Close, Sol LeWitt, Pat Steir and Wayne Thiebaud--and those whose association is more recent, such as Mamma Andersson, Julie Mehretu, Jockum Nordström, Chris Ofili, Amy Sillman and Fred Wilson.

Yes, No, Maybe: Artists Working at Crown Point Press

Collections, Catalogs & Exhibitions

Since the last century, the relationship between vanguard and self-taught artists has been defined by contradiction. The established art world has been quick to make clear distinctions between trained and untrained artists, yet at the same time it has been fascinated by outliers whom it draws selectively and intermittently into its orbits. For a new exhibition launching at the National Gallery of Art, curator Lynne Cooke explores shifting conceptualizations of the American outlier across the twentieth century, drawing on the inherent sociality of the exhibition in her installation of these works. This companion catalog, Outliers and American Vanguard Art, offers a fantastic opportunity to consider works by schooled and self-taught creators in relation to each other and defined by historical circumstance. The art works in Outliers and American Vanguard Art come from three distinct periods when the intersections between mainstream and outlier artists were most dynamic and productive, ushering in exhibitions of art based on various degrees of co-existence, inclusion, and assimilation. Works by such diverse artists as Charles Sheeler, Christina Ramberg, and Matt Mullican are set in conversation with a range of works by such self-taught artists as Horace Pippin, Janet Sobel, and Henry Darger. Cooke also examines a recent increase of radically expressive work that challenges what it means to be an outlier today. She reveals how these distinctions have been freighted with a particularly American point of view as she investigates our assumptions about creativity, artistic practice, and the role of the artist in contemporary culture. Outliers and American Vanguard Art is the most comprehensive show ever to examine outliers in dialogue with their established peers. It is sure to inspire vigorous conversation about how artists and the work they make are represented.

Outliers and American Vanguard Art

Washington National Gallery Of Art

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