Ornament & illusion : Carlo Crivelli of Venice
著者
書誌事項
Ornament & illusion : Carlo Crivelli of Venice
Isabella Stewart Gardner Museum , Paul Holberton Pub., 2015
大学図書館所蔵 全6件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
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注記
Exhibition catalogue
Catalogue of the exhibition held at Isabella Stewart Gardner Museum, Boston, Oct. 22, 2015-Jan. 25, 2016
Includes bibliographical references (p. 216-230)
内容説明・目次
内容説明
Accompanying an exhibition at the Isabella Stewart Gardner Museum in Boston, this catalogue explores one of the most important but historically neglected painters of the Italian Renaissance, Carlo Crivelli (c.1435-c.1495). Venetian by birth but shaped by formative experiences in Padua, Crivelli embarked on a career that spanned both sides of the Adriatic. His extraordinary success led to a virtual monopoly in the Marches, where he dominated the market for towering altarpieces and jewel-like paintings for private devotion in the second half of the fifteenth century. Pushing the boundaries between painting and sculpture, his works are distinguished by their radically expressive compositions, luxuriant ornamental display and bravura illusionism.
Seven essays challenge the prevailing view of Crivelli as a provincial artist working in an anachronistic `Gothic' style, investigate the remarkable facture of his paintings, and shed new light on his rediscovery by collectors. Repositioning Crivelli's contributions within wider developments in the history of western art, Stephen J. Campbell (Johns Hopkins University), C. Jean Campbell (Emory University), Thomas Golsenne (Ecole Nationale Superieure d'Art de Nice), and Alison Wright (University College London) reveal his artistic ambition. Crivelli is reevaluated as an experimental artist who masterfully manipulated the surfaces of his paintings into visionary encounters with the divine, forged a modern icon, and offered a powerful alternative to new models of painting associated with Florence. Gianfranco Pocobene (Isabella Stewart Gardner Museum) examines the technical facility that underpins Crivelli's dazzling pictorial eff ects and publishes the results of the first ever technical analysis on the Gardner's Saint George and the Dragon. Essays by Francesco De Carolis (Universita di Bologna) and Oliver Tostmann (Wadsworth Athenaeum) investigate the painter's critical fortunes. The former explores the dispersal of Crivelli's works in nineteenth-century Italy and their role in shaping his modern reputation, while the latter examines the American taste for Crivelli in the early twentieth century.
The catalogue reflects the iconographic range of his images. Entries written by a team of scholars in Europe and the United States include new insights and up-to-date bibliography for twenty-three paintings and Crivelli's only surviving drawing on paper.
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