A presentation of furnishings from the baroque palaces of 17th-century Rome. It discusses the relationship of Roman baroque decorative arts and the development of palace architecture; arts and their connection to music and people; and life in the palaces and social and political theatre.

Life and the Arts in the Baroque Palaces of Rome: Ambiente Barocco

Arts & Photography

Nelson-Atkins Museum Of Art

Bard Graduate Center for Studies in the Decorative Arts

History & Criticism

Yale Univ Pr

Winslow Homer's luminous watercolor seascapes and highly spirited portraits of children and outdoorsmen are some of the most recognizable and cherished works in the history of American art. This catalogue, published in conjunction with a major traveling exhibition, examines his pictures from the 1870s, the least-studied period of this perennially popular American artist. Debunking the common myth that Homer worked in isolation, Margaret Conrads reveals him as a controversial artist who was an integral part of the dizzying New York art scene of the 1870s. Indeed, Homer was the American artist most frequently discussed by the press at this time--often with simultaneous commendation and vilification.
 By viewing Homer's works of the 1870s through the lens of contemporaneous criticism, the author explains how and why the painter embodied the critics' high hopes for an art that expressed national values. She finds reflected in his vivid images an ongoing struggle to meet these expectations, even as he challenged and helped to redefine the artistic conventions governing American aesthetics.
 With almost one hundred full-color plates and nearly sixty black-and-white illustrations, this handsome volume is a remarkable record of an important period not only in Winslow Homer's career but also in the fascinating art world of late-nineteenth-century America.
 EXHIBITION SCHEDULE:
 The Nelson-Atkins Museum of Art Kansas City, Missouri February 18-May 6, 2001
 Los Angeles County Museum of Art June 10-September 9, 2001
 High Museum of Art, Atlanta October 6, 2001-January 6, 2002

Winslow Homer and the Critics: Forging a National Art in the 1870s

Los Angeles County Museum of Art

Homer, Winslow

High Museum Of Art

Conrads, Margaret C.

Individual Artists

Princeton Univ Dept of Art &

Illustrated Exhibition catalog for 4 June 1995-15 March 1996.

Joel Shapiro: Outdoors

Walker Art Center

Boswell, Peter W.

Scott, Deborah Emont

Master Drawings from the Nelson-Atkins Museum of Art, Kansas City, Missouri: September 22 to December 3, 1989

Washington University Gallery of Art

The first in a projected series of catalogues documenting the permanent collections of the Kansas City, Missouri museum focuses on the Italian paintings, each of which is reproduced in color, accompanied by some 200 b&amp;w comparative illustrations. All the major Italian schools from 1300-1800 are represented by the 60 paintings in this collection. Two essays discuss the history of Italian painting collecting in Kansas City, and the use of infrared reflectography for study of paintings in the collection. A labor of several years, the catalogue entries include artist biographies; technical notes and a detailed description; documented commentary with discussion of attribution, date, subject, and function; a list of references that also summarizes the critical history of each work; and a full account of exhibition history and provenance. 10x12" Annotation c. by Book News, Inc., Portland, Or.

Italian Paintings, 1300-1800: The Collections of the Nelson-Atkins Museum of Art

Rowlands, Eliot W.

Nelson-Atkins Museum of Art

This book is the second in a series of catalogues devoted to documenting the permanent collections in The Nelson-Atkins Museum of Art, Kansas City, Missouri. In this volume on ink-printed graphics, more than six thousand examples are cited, ranging from the 15th to the 20th century. Included are works by many of the leading print-makers of the Western world, some of the impressions being unique and others exceedingly rare. From the dawn of printing is a group of thirty-two hand-colored woodcuts by unknown German artists, one of the most intact engravings of The Last Supper by the Dutch Master I.A.M. of Zwolle, and both states of Mantegna's Battle of the Sea Gods (Right Half). Among 16th century works are one of the finest known impressions of Durer's St. Jerome in His Study, a unique hand-colored engraving by the Flemish Master S, a singular engraving by Girolamo Mocetto, and chiaroscuro woodcuts by Ugo da Carpi, Agostino Veneziano, and Hendrick Goltzius. Notably representative of the 17th century are a number of Rembrandt's etchings, a splendid impression of Bellange's Martyrdom of St. Lucy, Hollar's Four Seasons, and mezzotints by Blooteling and Dusart. Among distinguished works of the 18th century are a first-edition set of Goya's Caprichos, Descourtis's two finest color intaglios, and etchings of 1748 by Piranesi, as well as a twenty-three-volume bound set of the first Paris edition of all of his antiquarian prints, his sons' additions, and works by their associates. Of the 19th century are Dr. Thornton's Temple of Flora series, Goya's Disasters of War, a superb impression of a Pissarro intaglio, and a unique annotated proof in the complete hand-colored set of Daumier's lithographed Les Cent Robert Macaire. Remarkable among 20th century holdings are proofs of Feininger's Green Bridge and Villon's Red Umbrella, famous posters by Bakst and Thorn Prikker, striking etchings by Nolde, an early lithograph and a monumental acquatint by Picasso, and Lichtenstein's Modern Head series in several media. Each of one hundred numbered entries written by George L. McKenna discusses a single print, several impressions, or portions of series. Information on the date, size, state, signature, inscriptions, catalogue raisonne numbers, watermark, provenance, and exhibition and publication history of each print precedes the extended text. That text, in essay form, presents relevant biographical detail, analysis of imagery, description of style, and germane critical comment footnoted with reference to publications cited in the bibliography at the end of the book. Depending upon the appearance of the original prints, illustrations are in full color or black and white in facsimile or reduced scale. Following the one hundred entries is a list of some six thousand other prints in the collection, arranged alphabetically according to nationality, medium, and artist. The title, date, measurements, catalogue raisonne and accession numbers of every print are specified, as well as the names of the donors of gifts. Two hundred and ninety of the prints are reproduced in small black and white plates in close proximity to their locations in the list. In addition, George L. McKenna has written an introduction which recounts how the print collection has been formed through the years, beginning with the first purchases in 1932.

The Collections of the Nelson-Atkins Museum of Art: Prints 1460-1995

McKenna, George L.

#Exhibition catalog.#Includes bibliographical references.

Durer to Matisse: Master Drawings from the Nelson-Atkins Museum of Art

hood-museum-of-art

Ward, Roger B.

Philbrook Art Center

Cummer Museum of Art

This catalogue was publishd on the occasion of the exhibition, Ursula von Rydingsvard, by the Nelson-Atkins Museum of Art, Kansas City, Missouri, and by Yorkshire Sculpture Park, Wakefield West Yorkshire. Many beautiful photographs of the works on display and the artist at work. An interview with Ursula von Rydingsvard and Deborah Emont Scott. A short biography and her vitae are also included.

Ursula Von Rydingsvard

Indianapolis Museum of Art.

Brenson, Michael

Von Rydingsvard, Ursula

Emont-Scott, Deborah

Yorkshire Sculpture Park

Nelson-Atkins Museum of Art : A Handbook of the Co

Bloch Galleries

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