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"For the first time, explore John Singer Sargent's fascination with Spain as seen in stunning landscapes, architectural views, figure studies, and scenes of everyday life. American artist John Singer Sargent (1856-1925) experienced Spain, including the picturesque island of Majorca, as a source of rejuvenation and inspiration. Sargent and Spain features scores of the artist's dazzling watercolors, oil paintings, and drawings, from landscapes and seascapes to architectural studies, scenes of everyday life, and sympathetic portraits of the Roma and other local people he encountered. Immersing himself in the country's rich culture, he studied Spanish masters old and new, lavishing particular attention on works by Diego Velázquez in the Prado. He rendered the distinctive architecture of the Alhambra as well as other palaces and churches, and he captured lively scenes of ports and villages. Intrigued by Spanish dance and music, Sargent created dynamic views of flamenco and the famous dancer La Carmencita. A map and an illustrated chronology document the artist's seven trips to and travels through Spain. This handsome book showcases, for the first time, Sargent's captivation with Spain and the remarkable works of art now associated with it. "--

Sargent, John Singer --- Spain --- Sargent, John Singer, --- Sargent, John Singer. --- Velázquez, Diego Rodriguez de Silva y. --- Spanje. --- Velázquez, Diego Rodriguez de Silva y --- Spanje

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A very important part of Caravaggios production consists of pictorial narratives, mostly religious. Thus, according to early modern aesthetics, Caravaggio practiced the artistic genre of the istoria: the most discussed and thoroughly defined pictorial institution of his time. Unanimously, seventeenth-century artists and art theorists censored and condemned Caravaggios art for its numerous deficiencies and faults in regard to the principles of the istoria. In spite of all these testimonies, Caravaggios innovations in and misuses of the techniques specific to early modern pictorial narrative have never been systematically studied, debated, and put into historical perspective. In this volume, Lorenzo Pericolo argues that Caravaggios multiple experimentations with the traditional devices of the istoria not only represent the core of an unprecedented "poetics of dislocation," but also unsettled, dismantled, and expanded the scope of pictorial narrative in ways that would have redefined and deeply transformed the concept of painting and artistic creation, had Caravaggios enterprise not have been ferociously criticized and stigmatized as both aberrant and defective. To solidly establish the importance and groundbreaking charge of Caravaggios work, Pericolo examines the notion of Leon Battista Albertis istoria as interpreted and developed by early modern artists and theoristsfrom Leonardo to Vasari, from Lomazzo to Poussin, and from Michelangelo to Belloriin vast surveys in which the concepts of diachrony, duration, eurythmy, propriety, verisimilitude, and pictorial truth among othersare carefully examined on a theoretical and practical level. By analyzing the paintings of Caravaggios followers such as Cecco del Caravaggio, Battistello Caracciolo, Valentin de Boulogne and, not least, Diego Velázquez, Pericolo explores how Caravaggios innovations in the domain of pictorial narrative were variously construed, elaborated upon, and brought to fruition in the aftermath of the masters death in 1610, thereby offering a critical explanation of the implosion and extinction of the Caravaggesque movement in the 1630s. Among the flood of recent books devoted to Caravaggio, whose popularity now stands at the zenith, Lorenzo Pericolos profound and passionate study stands out for its sensitive and learned presentation of an argument that is both historically true and critically revealing to present-day sensibilities. Thoroughly at home in the vast literature devoted to Baroque art in general and to Caravaggio in particular, Pericolo also brings to his subject an unrivaled understanding of modern theoretical techniques on the one hand, and, on the other, an unrivaled mastery of seventeenth-century artistic theory, profoundly based in Aristotelian poetics and in rhetorical techniques. Through extended close readings of Caravaggios paintings, arranged in roughly chronological order, Pericolo brilliantly teases out the theoretical and practical choices that confronted Caravaggio, and that further determined reception of his work, both in the positive and negative senses, by highly sophisticated contemporary audiences. Beyond this, Pericolo is a remarkably sensitive guide to Caravaggios expression of profound, wrenching and often painful, emotions caught in eternal suspension, the sources of both his contemporaries discomfort and our own, modern, recognition and appreciation. Truly a distinguished achievement, this book is required reading for general readers as well as specialists in the history of art.

istoria --- Caravaggio, da, Michelangelo M. --- Painters --- Painting, Italian --- Peintres --- Peinture italienne --- History. --- Histoire --- Caravaggio, Michelangelo Merisi da, --- Influence. --- Caravaggisme --- iconografie --- techniek --- Caravaggio --- Marino, Giovan Battista --- Titiaan --- Alberti, Leon Battista --- Velázquez, Diego --- Boulogne, Valentin de --- 16de eeuw --- 17de eeuw --- History --- Influence --- Caravage, Le --- Italian painting --- Karavadzho, Mikelʹandzhelo da, --- Merizi, Mikelʹandzhelo, --- Merisi, Michelangelo, --- Amerighi, Michelangelo, --- Caravaggio, --- Merisio, Michelangelo, --- Da Caravaggio, Michelangelo Merisi, --- Merisi da Caravaggio, Michelangelo, --- Caravage, --- Merisi, Michelange, --- Caravage, Michelange de, --- Caravaggi, M. de --- קרוואג׳יו --- Caravaggio, Michelangelo Merisi da --- Italy --- Painting [Italian ] --- caravaggisme --- Painters - Italy --- Painting, Italian - History --- Caravaggio, Michelangelo Merisi da, - 1573-1610 --- Caravaggio, Michelangelo Merisi da, - 1573-1610 - Influence --- caravaggisme. --- iconografie. --- techniek. --- Caravaggio. --- Marino, Giovan Battista. --- Titiaan. --- Alberti, Leon Battista. --- Velázquez, Diego Rodriguez de Silva y. --- de Boulogne, Valentin. --- 16de eeuw. --- 17de eeuw. --- istoria [critical concept] --- Velázquez, Diego Rodriguez de Silva y --- de Boulogne, Valentin

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"This exhibition offers an unprecedented look at the life and artistic achievements of seventeenth-century Afro-Hispanic painter Juan de Pareja (ca. 1608-1670). Largely known today as the subject of The Met's iconic portrait by Diego Velázquez, Pareja was enslaved in Velázquez's studio for over two decades before becoming an artist in his own right. This presentation is the first to tell his story and examine the role of enslaved artisanal labor and a multiracial society in the art and material culture of Spain's so-called "Golden Age." Representations of Spain's Black and Morisco populations in works by Francisco de Zurbarán, Bartolomé Esteban Murillo, and Velázquez join works that chart the ubiquity of enslaved labor across media, from sculpture to silver. The Met's portrait, executed by Velázquez in Rome in 1650, is contextualized by his other portraits from this period and the original document whereby Pareja was freed upon return to Madrid. The exhibition culminates in the first gathering of Pareja's rarely seen paintings, some of enormous scale, which engage with the canons of Western art while reverberating throughout the African diaspora. Harlem Renaissance collector and scholar Arturo Schomburg was vital to the recovery of Pareja's work and serves as a thread connecting seventeenth-century Spain with twentieth-century New York, providing a lens through which to view the multiple histories that have been written about Pareja."--

Painting --- slavery --- easel paintings [paintings by form] --- figures [representations] --- Spanish Renaissance-Baroque styles --- Pareja, Juan de --- anno 1600-1699 --- Artistes noirs --- Velázquez, Diego --- Influence. --- zwarten --- slavernij; lijfeigenen en slaven --- de Pareja, Juan --- Velázquez, Diego Rodriguez de Silva y --- Schomburg, Arturo --- 17de eeuw --- Spanje --- Painters, Black --- Artists, Black --- Painting, Spanish --- Slavery in art --- Black people in art --- Portrait painters --- Peintres noirs --- Peinture espagnole --- Personnes noires dans l'art --- Portraitistes --- Employees --- Pareja, Juan de, --- Velázquez, Diego, --- Influence --- 1600-1699 --- Christian art and symbolism --- Esclavage dans l'art --- Art et symbolisme chrétiens