Gothic sculpture in France 1140-1270;

Sauerländer, Willibald

Thames and Hudson

A comprehensive fully documented and illustrated study of French cathedral sculpture during the period.

Gothic sculpture in France, 1140-1270

H.N. Abrams

Professor Sauerländer is the leading authority on Gothic sculpture of the twelfth and thirteenth centuries. The papers collected here have been published over the last 35 years. They represent important contributions to the subject - two are published here for the first time - and reflect sensible shifts of method and approach in the study of the art of this period. The studies form two volumes, and are grouped around a number of common themes: the great centers, the survival of antiquity, the new interest in nature and its representation, and the European spread of the Gothic style. Ten are in German, six in French, and six in English. Early studies have been updated with references to the more recent literature. There is a comprehensive index and a bibliography of Professor Sauerländer's work. Volume I Contents: Introduction; The Milieu. Medieval Paris, Centre of European Taste. Fame and Realities; The Great Centres. Tombeaux chartrains du premier quart du XIIIème siècle; Die kunstgeschichtliche Stellung der Westportale von Notre-Dame in Paris. Ein Beitrag zur Genesis des hochgotischen Stils in der französischen Skulptur; Zu den neugefundenen Fragmenten von Notre-Dame in Paris; Les statues royales du transept de Reims; Observations sur la topographie et l'iconologie de la Cathédrale du sacre; The Survival of Antiquity. "Première architecture gothique" or "Renaissance of the Twelfth Century"? ; Changing Perspectives in the Evaluation of Architectural History; Renaissance and Revival in The Twelfth Century; Architecture and the Figural Arts outside Italy; L'art antique et sculpture autour de 1200. St. Denis, Lisieux, Chartres; The Mirror of Nature. "Intentio vera nostra est manifestare ea quae sunt sicut sunt". Bildtradition und Wirklichkeitserfahrung in Spannungsfeld der staufischen Kunst; "Kleider machen Leute". Vergessenes aus Viollet-le-Duc's "Dictionnaire du mobilier français".

Cathedrals and Sculpture, Volume I

Arts & Photography

History & Criticism

Pindar Press

The art of Rubens is rooted in an era darkened by the long shadow of devastating wars between Protestants and Catholics. In the wake of this profound schism, the Catholic Church decided to cease using force to propagate the faith. Like Gian Lorenzo Bernini, Peter Paul Rubens (1577–1640) sought to persuade his spectators to return to the true faith through the beauty of his art. While Rubens is praised for the “baroque passion” in his depictions of cruelty and sensuous abandon, nowhere did he kindle such emotional fire as in his religious subjects. Their color, warmth, and majesty―but also their turmoil and lamentation―were calculated to arouse devout and ethical emotions. This fresh consideration of the images of saints and martyrs Rubens created for the churches of Flanders and the Holy Roman Empire offers a masterly demonstration of Rubens’s achievements, liberating their message from the secular misunderstandings of the postreligious age and showing them in their intended light.

The Catholic Rubens: Saints and Martyrs

Getty Research Institute

Manet Paints Monet focuses on an auspicious moment in the history of art. In the summer of 1874, Édouard Manet (1832–1883) and Claude Monet (1840–1926), two outstanding painters of the nascent Impressionist movement, spent their holidays together in Argenteuil on the Seine River. Their growing friendship is expressed in their artwork, culminating in Manet’s marvelous portrait of Monet painting on a boat. The boat was the ideal site for Monet to execute his new plein-air paintings, enabling him to depict nature, water, and the play of light. Similarly, Argenteuil was the perfect place for Manet, the great painter of contemporary life, to observe Parisian society at leisure. His portrait brings all the elements together― Manet’s own eye for the effect of social conventions and boredom on vacationers, and Monet’s eye for nature―but these qualities remain markedly distinct. With this book, esteemed art historian Willibald Sauerländer describes how Manet, in one instant, created a defining image of an entire epoch, capturing the artistic tendencies of the time in a masterpiece that is both graceful and profound.

Manet Paints Monet: A Summer in Argenteuil

Professor Sauerländer is the leading authority on Gothic sculpture of the twelfth and thirteenth centuries. The papers collected here have been published over the last 35 years. They represent important contributions to the subject - two are published here for the first time - and reflect sensible shifts of method and approach in the study of the art of this period. The studies form two volumes, and are grouped around a number of common themes: the great centers, the survival of antiquity, the new interest in nature and its representation, and the European spread of the Gothic style. Ten are in German, six in French, and six in English. Early studies have been updated with references to the more recent literature. There is a comprehensive index and a bibliography of Professor Sauerländer's work. Volume II Contents: The European Echo. England. Sens and York. An Enquiry into the Sculptures from St. Mary's Abbey in the Yorkshire Museum; Sculpture at Westminster Abbey; Spain. Von der Glykophilousa zur "Amie Graciouse". Überlegungen und Fragen zur Virgen Blanca in der Kathedrale von Toledo; 1188. Les Contemporains du Maestro Matteo; The Empire. Reims und Bamberg. Zu Art und Umfang der Übernahmen; Die Naumburger Stifterfiguren. Ruckblick und Fragen. Stiftergedenken und Stifterfiguren in Naumburg; Italy. Von Wiligelmo zu Giotto. Mediävistische Aphorismen zum Thema Frankreich und Italien; Dal Gotico europeo in Italia al Gotico italiano in Europa; Epilogue. Storicismo e classicismo nel gotico settentrionale intorno al 1300; Gedanken ueber das Nachleben des Gotischen Kirchenraums im Spiegel der Malerei; La cathédrale et la revolution; A Connecticut Yankee at King Arthur's Court; Additional Notes; Bibliography of Professor Sauerländer's Publications; Index.

Cathedrals and Sculptures, Volume II

Volumes I and II bring together Professor Sauerländer's papers on Romanesque art, and complement his two previously published volumes in this series on Gothic art. The studies are again grouped around a number of common themes: structures, problems of classification, the geography of Romanesque art, and its development in Italy and the Empire. Early studies have been updated with references to the more recent literature, and there is a comprehensive index. Volume I Contents: Introduction; Forms and Structures. Romanesque Sculpture in its Architectural Context; Façade ou façades romanes; Reliquien, Altäre und Portale; Die gestörte Ordnung oder "le chapiteau historié"; Initialen. Ein Versuch ueber das verworrene Verhältnis von Bild und Schrift im Mittelalter; The Limits of Classification. Die Geographie der Stile; Style or Transition? The Fallacies of Classification discussed in the Light of German Architecture 1190-1260; Sermonizing in Stone. Über die Komposition des Weltgerichts-Tympanons in Autun; Omnes perversi sic sunt in Tartara Mersi. Skulptur als Bildpredikt. Das Weltgerichtstympanon von Sainte-Foy in Conques; Nisi transmutetis mores. Riflessioni sull'ambiguita dell'iconografia romanica; The Diversity of French Examples. Chefs-d'Oeuvre romans des musées de province; Gislebertus von Autun. Ein Beitrag zur Entstehung seines kuenstlerischen Stils; Löwen in Lyon; Eine trauernde Maria des 12. Jahrhunderts aus dem mittleren Rhônetal; Die Fassade der Abteikirche Saint-Gilles du Gard; Sainte-Foy de Conques; Die Skulptur von Saint-Sernin in Toulouse; Zu dem romanischen Krucifix in Moissac.

Romanesque Art: Problems and Monuments, Volume I

Two volumes collating updated versions of Professor Sauerländer's written work on Romanesque art. Subjects include: structures, problems of classification, the geography of Romanesque art, and its development in Italy and the Empire.

Romanesque Art: Problems and Monuments

Religion & Spirituality

Der katholische Rubens: Heilige und Märtyrer

Beck C. H.

Das Königsportal in Chartres. Heilsgeschichte und Lebenswirklichkeit.

Fischer (Tb.), Frankfurt

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