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Gli interventi raccolti in questo volume hanno come oggetto le attività di tutela e conservazione del patrimonio storico-artistico e archeologico promosse in Italia tra la seconda metà del XVIII secolo e la prima metà del XX, riferite ad opere differenti per cronologia e materiali (dipinti murali e quadri da galleria, sculture medievali e rinascimentali, mosaici, vasi di scavo, interi contesti archeologici), con il naturale corollario dei dibattiti teorici e delle affermazioni di metodo che le accompagnarono. Nel titolo, il richiamo a Fernand Braudel riassume il desiderio di tracciare un percorso non astratto, ma ancorato alla realtà degli oggetti e di coloro che nel tempo se ne sono occupati. La scelta di un arco temporale relativamente ampio, come pure la decisione di non concentrare l'attenzione su un'unica tipologia di oggetti, intendono portare in evidenza l'evoluzione diacronica di concetti generali come quelli di conservazione e restauro, cogliendo nessi e differenze tra le fasi pre e post-unitarie del frastagliato panorama nazionale, ma ancor più mirano a ricostruire la storia conservativa delle opere, nella speranza di fornire anche in tal modo uno strumento di interpretazione a chi, preposto all'attività di tutela, possa giovarsene in fase di progettazione dei futuri interventi: una corretta conservazione programmata, infatti, non può ormai prescindere dalla consapevole conoscenza di una dimensione storica che relativizzi qualsiasi operazione da compiere oggi sulle opere.

Restoration --- Art history --- Arts

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This book explores how European naturalists and artists perceived, investigated, and presented the relationship between insects and colors from the late sixteenth to the late eighteenth century. The contributors to this volume examine the creative methods and strategies that were developed to record color-related information about insects through studies on Hoefnagel’s glazed metal and hand-coloring practices; the lepidochromy technique used in paintings by Marseus van Schriek and later naturalists; the representation of sexual dimorphism of color and variable color of caterpillars in the images of Goedaert, Merian, Albin, and Rösel von Rosenhof; the painting-by-numbers technique applied to Schäffer’s bookplates on Regensburg insects; Schiffermüller’s watercolor originals of caterpillars; and finally, the color fading of exotic cabinet specimens and how this issue was tackled by Abbot and Smith. The volume is lavishly illustrated with rare and unpublished images and offers new insights into the interrelation between natural history and visual practices concerning the color of insects, with a special focus on butterflies and moths. Contributors are Harald Bruckner, Kay Etheridge, Beth Fowkes Tobin, Stefanie Jovanovic-Kruspel, Karin Leonhard, V.E. Mandrij, Kimberly Schenck, Stacey Sell, Giulia Simonini, and Friedrich Steinle. See Less

Art History. --- Insects in art.

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In a discipline forever subject to ad hoc or opportunistic research, where the differences between descriptive, comparative, and intellectual analyses are increasingly blurred, W. McAllister Johnson offers these provocative, 'issues-oriented' essays, an effort to address the intellectual bases of art history in relation to everyday work. The essays attempt to bridge the gap between theory and practice through common sense and a measure of realism that is sometimes humorous, sometimes brutal. Conversational in tone, the book is intended to stimulate reflection rather than serve as a reference book or manual. Through the constant interweaving of intellectual and art history with practical instructions that address concretely and in detail the realistic needs of students and writers, Johnson speaks to the field itself rather than to its externals. He deals with such different matters as the nature and evolution of the research process, university and public life, bibliography, and cataloguing. These essays discuss major questions that should arise in courses in bibliography, methodology, and historiography, once the survey courses are left behind. Art librarians have previously had little to offer between introductory works or manuals and specialized literature. Yet, beyond what interests one or what can be judged in the light of personal or professional experience, everyone needs a foil that goes beyond immediate needs and forces him or her to reassess method and attitudes. In this book Johnson offers just such an instrument.

Art --- Historiography. --- History --- art history --- Art - Historiography

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A guide to the establishment of the library which covers materials acquisition, the organization and usage of the library's collection to provide a variety of services and the use of automation.

Art --- History. --- Art history --- History of art

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Major General Sir Isaac Brock is remembered as the Hero of Upper Canada for his defence of what is now Ontario during the War of 1812, and also for his noble death at the Battle of Queenston Heights. In the more than two centuries since then, Brock's likeness has been lost in a confusing array of portraits-most of which are misidentified or conceptual. The 1824 monument constructed to honour Brock's sacrifice was destroyed in 1840 by Benjamin Lett, a disgruntled disciple of William Lyon Mackenzie and critic of the Upper Canadian elite. The replacement and subsequent commemorations emphasized a patriotic desire to visualize the hero's appearance. But despite uncovering an authentic portrait painted only a few years before Brock's death, a series of false faces were promoted to serve competing claims and agendas. St-Denis situates Brock's portraits within an emerging English Canadian imperial nationalism that sought a heroic past which reflected their own aspirations and ambitions. A work of detailed scholarship and a fascinating detective story, The True Face of Sir Isaac Brock details the sometimes petty world of self-proclaimed guardians of the past, the complex process of identification and misidentification that often occurs even at esteemed Canadian institutions, and St-Denis' own meticulous work as he separates fact from fiction to finally reveal Brock's true face.

Art History --- Sir Isaac Brock --- Art Authenticity