The Observer 1791 1921 A Short Record With Plates Including Portraits And Illustrations

This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945.

By the middle of the nineteenth century, the most common method of photography was the daguerreotype—Louis Jacques Mandé Daguerre’s miraculous invention that captured in a camera visual images on a highly polished silver surface through exposure to light. In this book are presented nearly eighty masterpieces—many never previously published—from the J. Paul Getty Museum’s extensive daguerreotype collection.

The Getty Museum's collection of drawings was begun in 1981 with the purchase of a Rembrandt nude and has since become an important repository of European works from the fifteenth through the nineteenth century. As in the first volume devoted to the collection (published in 1988 in English and Italian editions), the text is here organized first by national school, then alphabetically by artist, with individual works arranged chronologically. For each drawing, the authors provide a discussion of the work's style, dating, iconography, and relationship to other works, as well as provenance and a complete bibliography.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

Francisco Goya y Lucientes (1746-1828) created magnificent paintings, tapestry designs, prints, and drawings over the course of his long and productive career. Women frequently appeared as the subjects of Goya's works, from his brilliantly painted cartoons for the Royal Tapestry Factory to his stunning portraits of some of the most powerful women in Madrid. This groundbreaking book is the first to examine the representations of women within Goya's multifaceted art, and in so doing, it sheds new light on the evolution of his artistic creativity as well as on the roles assumed by women in late eighteenth- and early nineteenth-century Spain. Many of Goya's most famous works are featured and explicated in this beautifully designed and produced book. The artist's famous tapestry cartoons are included, along with the tapestries woven after them for the royal palaces of the Prado and the Escorial. Goya's infamous Naked Maja and Clothed Maja are also highlighted, with a discussion on whether these works were painted at the same time and how they might have originally hung in relation to one another. Focus is also placed on Goya's more experimental prints and drawings, in which the artist depicted women alternatively as targets of satire, of sympathy, or of admiration. Essays by eminent authorities provide a historical and cultural context for Goya's work, including a discussion on the significance of fashion and dress during the period. The resultant volume is surely to be treasured by all who admire Goya's art and by those who are interested in women's issues of his time.

The object of this work is to present to the student of medicine and the practitioner removed from the schools, a series of dissections demonstrative of the relative anatomy of the principal regions of the human body. Whatever title may most fittingly apply to a work with this intent, whether it had better be styled surgical or medical, regional, relative, descriptive, or topographical anatomy, will matter little, provided its more salient or prominent character be manifested in its own form and feature. The work, as I have designed it, will itself show that my intent has been to base the practical upon the anatomical, and to unite these wherever a mutual dependence was apparent. That department of anatomical research to which the name topographical strictly applies, as confining itself to the mere account of the form and relative location of the several organs comprising the animal body, is almost wholly isolated from the main questions of physiological and transcendental interest, and cannot, therefore, be supposed to speak in those comprehensive views which anatomy, taken in its widest signification as a science, necessarily includes. While the anatomist contents himself with describing the form and position of organs as they appear exposed, layer after layer, by his dissecting instruments, he does not pretend to soar any higher in the region of science than the humble level of other mechanical arts, which merely appreciate the fitting arrangement of things relative to one another, and combinative to the whole design of the form or machine of whatever species this may be, whether organic or inorganic. The descriptive anatomist of the human body aims at no higher walk in science than this, and hence his nomenclature is, as it is, a barbarous jargon of words, barren of all truthful signification, inconsonant with nature, and blindly irrespective of the cognitio certa ex principiis certis exorta. Still, however, this anatomy of form, although so much requiring purification of its nomenclature, in order to clothe it in the high reaching dignity of a science, does not disturb the medical or surgical practitioner, so far as their wants are concerned. Although it may, and actually does, trammel the votary who aspires to the higher generalizations and the development of a law of formation, yet, as this is not the object of the surgical anatomist, the nomenclature, such as it is, will answer conveniently enough the present purpose. The anatomy of the human form, contemplated in reference to that of all other species of animals to which it bears comparison, constitutes the study of the comparative anatomist, and, as such, establishes the science in its full intent. But the anatomy of the human figure, considered as a species, per se, is confessedly the humblest walk of the understanding in a subject which, as anatomy, is relationary, and branches far and wide through all the domain of an animal kingdom. While restricted to the study of the isolated human species, the cramped judgment wastes in such narrow confine; whereas, in the expansive gaze over all allying and allied species, the intellect bodies forth to its vision the full appointed form of natural majesty; and after having experienced the manifold analogies and differentials of the many, is thereby enabled, when it returns to the study of the one, to view this one of human type under manifold points of interest, to the appreciation of which the understanding never wakens otherwise. If it did not happen that the study of the human form (confined to itself) had some practical bearing, such study could not deserve the name of anatomical, while anatomical means comparative, and whilst comparison implies inductive reasoning.