This book accompanies a major exhibition in the Ashmolean Museum on the early work of internationally acclaimed German artist Anselm Kiefer. It focuses on his paintings, drawings, photographs and artist books created between 1969 and 1982, in the private collections of the Hall Art Foundation. Anselm Kiefer: Early Works is the first institutional show and publication in the UK dedicated to Kiefer?s early practice. The book introduces themes, subjects and styles that have become signature to Kiefers work, while providing a more intimate and complementary context for his large-scale installations that he is best known for today. The early works are accompanied by three recent paintings from the artist?s own collections and White Cube, chosen by the artist himself.
Art historians, artists, curators and experts of Kiefers art from Germany, Austria, Belgium, Britain and the US have contributed 46 original texts on individual works, organised in a chronological structure. An illustrated chronology at the end of the book compiled by Stephanie Biron from the Hall Art Foundation provides an overview of the artist?s early practice and life, to contextualise the works.
The book begins with Kiefers iconic Occupations and Heroische Sinnbilder series, created in 1969 and 1970, which Kiefer views as his first serious works. Kiefer was among the first generation of German post-war artists to directly confront the country?s troubled past and identity. Full of complex references to German socio-political history but also to culture, literature and his personal life, Kiefer?s early works carry a unique iconography, linking classic ideas of great art with a distinctive understanding of concrete artistic materiality. The landscapes in his watercolours are historically charged; hand-written words on paintings are closely linked with poetry well known to most German viewers; motifs and symbols point at Nazi ideologies and a collective feeling of guilt.
An exploration of the changing status of colour in the Victorian period through painting, sculpture, decorative arts and fashion, published to accompany an exhibition at the Ashmolean Museum.|An exploration of the changing status of color in the Victorian period through painting, sculpture, decorative arts and fashion, published to accompany an exhibition at the Ashmolean Museum.
A visually stunning introduction to the world of European bronze sculptures, seen through the remarkable collections of the Ashmolean Museum, Oxford
There are very few books (particularly in English) on this subject
Covers a broad time period, essentially c.1200-1800
Covers other European cultures as well as Italian
Focus on specific objects, discussed in engaging and accessible manner
Beautiful illustrations
Focus on a single collection
This book looks at bronze through the remarkable collections of European bronze sculptures in the Ashmolean Museum of the University of Oxford. Largely thanks to the generosity of Charles Drury Edward Fortnum (1820-1899), the Ashmolean houses one of the world's great collections of Renaissance and Baroque small bronzes.
The book provides a survey of the collection and an overview of the development of small bronze sculpture during a period of six centuries running from c.1200 to around 1800, although most of the works illustrated here were made within the shorter time frame of c.1450-1650. Any such survey is inevitably shaped by the strengths of the collection, which is conditioned by Fortnum's taste, notwithstanding later acquisitions that have broadened its scope. He especially loved earlier Italian bronzes and so-called utensils ? objects such as inkstands, candlesticks, salt-cellars, mirrors and seals ? that are functional as well as beautiful. Fortnum was less interested in sculpture from the later 1500s onwards although, as this selection shows, he acquired some very interesting bronzes from the 17th and 18th centuries that deserve to be better known.
Catalogue de l'exposition à l'Ashmolean Museum d'Oxford, jusqu'au 29 août 2011, consacrée aux trésors de la dynastie des Téménides découverts sur le site archéologique d'Aigai, ancienne capitale de la Macédoine.
A reprint of the original 1985 edition with updated photographs. Thirty- three essays from scholarly contributors on the evolution of collecting, and how this lead to the formation of the modern museum. One of the first books to explore how collectors live with their objects, a subject which has become increasingly studied and popular.
Featuring many Gandharan objects never published before, and featuring all new photography, this is the complete catalogue of the Ashmolean's Buddhist sculpture collection and related art of the historic Gandhara region
Le musée Ashmolean abrite l'une des plus vastes collections de gravures sur bois au monde. La collection a effectivement commencé avec le don en 1964, par Arthur Mitchell, de plus de 3 000 estampes, dont un grand groupe de gravures sur bois. Au cours des années 1980 et 1990, elle s'est remarquablement développée avec des acquisitions de grands groupes d'estampes, souvent en cadeau des artistes, donnant lieu à une succession d'expositions monographiques sur certains des plus importants graveurs sur bois. Plus récemment, l'Ashmolean a formé un partenariat étroit avec la Society of Wood Engravers (SWE) et a maintenu la collection à jour en acquérant des oeuvres de ses membres. Ce catalogue d'exposition couvre toute l'histoire de la gravure sur bois, et présente la totalité des grands artistes du genre.
Ce catalogue accompagne une exposition à l'Ashmolean Museum à Oxford, lieu qui occupe une place particulière dans le mouvement pré-raphaelite. Plus qu'un catalogue d'exposition, ce livre offre en réalité une recension complète des oeuvres pré-raphaelites dans la collection de l'Ashmolean Museum, avec de nombreuses techniques de dessin, crayon, encre, craie, aquarelle et peinture métallique. Il contient également des esquisses pour des vitraux et du mobilier, ainsi que des dessins préparatoires pour certaines des peintures les plus renommées de leur collection.
Camille Pissarro (1830-1903) is one of the most celebrated artists of 19th-century France and a central figure in Impressionism. Considered a father-figure to many in the movement, his work was enormously influential for many artists, including Claude Monet and Paul Cezanne. This major exhibition, of works drawn from the Ashmolean's collections as well as international loans, will span Pissarro's entire career.
Pissarro continued to explore and refine his approach and technique throughout his life. The exhibition will look at how he responded to the previous generation of artists including Corot and Daubigny, to his relationship with the Impressionists with whom he allied himself and encouraged in the face of rejection by the established art world. Never ceasing to question his method, he developed close working relationships with Gaugin, for whom he was a mentor, and Cezanne for whom he was both teacher and pupil. It also includes a section on his family life - he was a devoted husband and father and his four sons all became artists. The Ashmolean has numerous sketches and photographs of the family.
This catalogue will accompany the Bruegel to Rubens exhibition held at the Ashmolean Museum in Oxford between 22 March and 23 June 2024. Through a selection of over 100 world-class drawings created by Flemish artists in the sixteenth and seventeenth centuries, an insightful and comprehensive overview will be given into how these drawn sheets were used as part of artistic practice, within or beyond the artist's studio. By revealing the drawings' function, rather than on their attribution or iconography, these sheets will become more fully understood through the eyes of contemporary readers. Identifying how and why these sheets were created will render these artworks more accessible to a wider audience. The three main essays will each deal with one of the principal functions of drawings at the time: studies (copies and sketches), designs for other artworks (paintings, prints, tapestries, metalwork, stained glass, sculpture and architecture), and finally the independent drawings. Each essay will discuss the relevant works within their functional context and compared with other related objects. Introductory chapters will focus on what precisely can be considered a drawing, including its materials, media and techniques, in addition to an attempt to explain the notion of Flanders and Flemish art. Emphasis will be placed throughout the catalogue on how Flemish artists collaborated in creating the most astonishing artworks of their time, unveiling their networks and friendships, as well as their travels across Europe, revealing their international importance. The exhibition is a partnership with the Museum Plantin-Moretus in Antwerp and will bring together for the first time the most stunning drawings from both the Ashmolean and the Plantin-Moretus collections, in addition to further loans from renowned Antwerp and Oxford institutions like the Rubenshuis and Christ Church Picture Gallery. Many of the sheets coming from Antwerp are registered on the Flemish Government's Masterpieces List and will not be shown again for the next five to ten years to protect them from fading. Prominent artists featured in this catalogue include Pieter Bruegel the Elder, Peter Paul Rubens, Anthony van Dyck, and Jacques Jordaens, among many others. Highlights will include a sketchbook in which a young Rubens has copied Holbein's Dance of Death woodcuts, intricate pen and ink drawings by Pieter Bruegel, meticulously drawn miniatures by Joris Hoefnagel, portrait studies by Anthony van Dyck, and a rare survival of a friendship album containing numerous drawings and poems dedicated to its owner. Two recently discovered sheets by Rubens will also be included, a design for a book-illustration on optics and an anatomical study of three legs.
Le netsuke manju est une pièce du vêtement japonais, arrondie et plate, qui sert à retenir les bourses ou objets suspendus à la ceinture. Traditionnellement en ivoire, elle est considérée comme le support de l'art japonais naissant et présente des scènes de la vie quotidienne, de contes populaires ou des motifs naturels.
Dans une exposition savante et très documentée, l'Ashmolean Museum s'intéresse à la vie de William Blake, de ses années de formation auprès du graveur James Basire à ses illustrations pour la Divine Comédie.
Cette exposition sera la première au Royaume-Uni à explorer les premières années de la carrière du plus célèbre artiste néerlandais, Rembrandt van Rijn (1606-1669). Commençant par ses premiers tableaux, gravures et dessins connus, réalisés dans sa ville natale de Leiden au milieu des années 1620, et se terminant avec son affirmation à Amsterdam au milieu des années 1630, cette exposition marque la transformation et le développement de ce génie de la peinture.
John Ruskin a amassé 1470 oeuvres diverses, faites par lui et par d'autres, dessins et gravures, comme support de travail à l'école de dessin qu'il a fondé à Oxford en 1871. Cet ouvrage se concentre sur celles qu'il a produites et que l'Ashmolean Museum détient aujourd'hui, formant l'une des plus importantes collections au monde sur son travail.
Edition revue, augmentée et mise à jour pour cette monographie dont la première édition date de 1999. Elle se concentre sur les peintures, dessins, gravures et aquarelles de l'artiste qui se trouvent dans la collection de l'Ashmolean Museum, la plus importante au monde sur ce célèbre romantique anglais et admirateur de William Blake.
Full colour illustration and detailed discussion of over 50 prints from the Ashmolean Museum's collection offering an introduction to Hiroshige's life and work.
