This beautiful book features masterpieces of sculpture in the collection of the Metropolitan Museum dating from the Renaissance through the nineteenth century. Celebrated works by the great European sculptors—including Luca and Andrea della Robbia, Juan Martínez Montañés, Gianlorenzo Bernini, Jean-Antoine Houdon, Bertel Thorvaldsen, Antoine-Louis Barye, Jean-Baptiste Carpeaux, Edgar Degas, and Auguste Rodin—are joined by striking new additions to the collection, notably Franz Xaver Messerschmidt's remarkable bust of a troubled and introspective man. 
The ninety-two selected examples are diverse in media (marble, bronze, wood, terracotta, and ivory) and size—ranging from a tiny oil lamp fantastically conceived and decorated by the Renaissance bronze sculptor Riccio to Antonio Canova's eight-foot-high Perseus with the Head of Medusa, executed in the heroic Neoclassical style. Incorporating information from the latest scholarly research and recent conservation studies, sculpture specialist Ian Wardropper discusses the history and significance of the highlighted works, each of which is reproduced with glorious new photography.

European Sculpture, 1400-1900: in The Metropolitan Museum of Art

Arts & Photography

Wardropper, Ian

History & Criticism

Metropolitan Museum of Art

European Decorative Arts in the Art Institute of Chicago

Decorative Arts & Design

Art Inst of Chicago Museum Shop

In a 1925 article on the post-Revolutionary production of the State Porcelain Factory in Leningrad, the ceramic artist Elena Danko described the factory's wares as "news from a radiant future." This volume is a catalogue of the Art Institute of Chicago's 1992 exhibit of Soviet porcelain from the collection of Craig and Kay Tuber. The essays included in News from a Radiant Future discuss the relationship between Bolshevik propaganda and the state porcelain factory, as well as the larger tradition of Russian imperial ceramics. They also consider porcelain's connection to the Russian folk heritage and specifically to the October Revolution.

News From a Radiant Future: Soviet Porcelain from the Collection of Craig H. and Kay A. Tuber

Crafts, Hobbies & Home

Antiques & Collectibles

Art Institute of Chicago

The catalogue accompany the exhibition: Chiseled with a Brush: Italian Sculpture, 1860-1925, from the Gilgore Cllections, organized by Ian Wardropper. The Art Institute of Chicago. May 14 - August 14, 1994; Denver Art Museum, October 29, 1994 - January 29, 1995. Copyright 1994. 9 x 11 1/2". 136 pages, 34 full-page color plates; numerous b/w illustrations. (ML)

Chiseled With a Brush: Italian Sculpture 1860-1925 from the Gilgore Collections

LICHT, Fred

Denver Art Museum

Art Institute Of Chicago

Univ of Washington Pr

From the Sculptor's Hand: Italian Baroque Terracottas from the State Hermitage Museum

Walker, Dean

Kosareva, Nina

Androsov, Sergei

gosudarstvennyi-ermitazh-russia

The Frick Collection was founded by Henry Clay Frick (1849-1919), the Pittsburgh coke and steel industrialist, philanthropist and art collector. On his death, he bequeathed his New York residence and remarkable collection of western paintings, sculpture and decorative arts to the public. Designed and built in 1913-14, the mansion is reminiscent of the noble houses of Europe, providing a grand, domestic setting for the art from the Renaissance to the nineteenth century that it contains. The collection includes masterpieces by renowned artists such as Bellini, Constable, Fragonard, Goya, El Greco, Ingres, Rembrandt, Vermeer and Whistler, as well as superb examples of French eighteenth-century furniture, Italian Renaissance bronzes and Limoges enamels.

The Frick Collection: Director's Choice

Collections, Catalogs & Exhibitions

Scala Arts Publishers, Inc.

Limoges enamels, named for the town in which they were produced, are one of the most distinctive art forms of the French Renaissance. This stunning handbook—the first book dedicated to Henry Clay Frick’s important collection of forty-six Limoges enamels—reflects the jewel-like character of the objects it describes. These colorful, luminous, often personal treasuresplaques, caskets, dishes, ewershave long been of interest to connoisseurs. Henry Clay Frick purchased John Pierpont Morgan’s collection in totality in 1916, adding his name to a centuries-long list of illustrious collectors of the medium.
A fascinating and wide-ranging introduction by Ian Wardropper sets the scene. Entries for each object, illustrated with new photography, and a glossary of terms reveal the intricacies of the collection, which itself constitutes a comprehensive survey of painted enamels at an outstanding level of quality.

Limoges Enamels at the Frick Collection

GILES

New volume in the Frick Diptych series focuses on a remarkable Renaissance lamp, pairing an essay by Frick director Ian Wardropper with a new poem by James Fenton. 
The form of this extraordinary bronze lamp, the most elaborate of several produced by Riccio (Andrea Briosco), is based on a Roman sandal, and its surface is covered with intricate reliefs modelled with a goldsmith's refinement and crisp detail. The subjects evoke the populace of classical art and poetry, including a Nereid and Triton, Pan, harpies and innumerable putti, along with goats, musical instruments, shells, masks and garlands. Inspired by the Roman half-boot, the lamp is designed as a bizarre shoe balanced on a pyramidal base, and, as Ian Wardropper discusses in his essay, it would have provided its owner with much pleasure and intellectual stimulation. Early in its history, the lamp is known to have belonged to a series of distinguished Paduan collectors. Paired with Wardropper's essay is a beautiful poem by James Fenton.

Riccio’s Oil Lamp (Frick Diptych, 11)

Fenton, James

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