Non Western
Accompanies an exhibition at the Museum Rietberg, Zurich (1 May – 21 August 2011) and the Metropolitan Museum of Art, New York (26 September 2011 – 8 January 2012)
Masters of Indian Painting, 1100–1900
800 pages, in 2 volumes, hardcover; 310 x 230 mm, over 500 illustrations
PRICE: £120.00
ISBN: ISBN 978 3 907077 50 4
Customers in the US or Canada, CLICK HERE
By Milo Beach, B. N. Goswamy and Eberhard Fischer
Accompanying an exhibition that promises to be the most comprehensive survey of Indian painting that the West has ever seen, this beautiful twovolume catalogue spans 800 years of Indian painting, and some 240 masterpieces by more than 40 artists. These great Indian masters are unquestionably the equals of Du?rer, Michelangelo or Vermeer. The artworks shown in the Museum Rietberg in Zurich, and later at the Metropolitan Museum in New York, come from such outstanding collections as the Royal Collection of Windsor Castle, the Golestan Palace in Tehran or the Institute for Oriental Manuscripts in St Petersburg.
Although Indian painters were celebrated as ‘wonders of their age’ by their contemporaries, for a long time very little was known about their lives. There are no Indian equivalents of sources such as Vasari’s biographies of European Renaissance artists. The fact that artistic traditions were shaped within a family, a workshop, or a court, adds to the difficulty of attributing works to individual artists. But thanks to many years of painstaking research, the deciphering of microscopically small signatures, analyses of pilgrim registers, and, especially, stylistic comparisons, more is now known. For example, about Farrukh Beg, who painted in Iran, in Kabul, Lahore, Bijapur, and Agra, or the brothers Manaku and Nainsukh who, despite their joint training in their father‘s workshop, differ significantly in style.
Twenty-five years after Captain Cook, the London Missionary Society sent its first representatives to the South Seas. Their goal was to eradicate heathenism and idolatry, but unwittingly, they became agents for the preservation of Polynesian culture through their diligent recording of language and religious practices. They even preserved a number of religious artifacts, which they sent back to England for exhibition in the Mission Museum in London. This book focuses on these artifacts, the idols that avoided the flames. More
Detailed biographies describe the lives of twelve collectors of tribal art in Britain, active between 1770 and 1990. These men were rarely field collectors and only occasional travellers, but they were vigorous hunters, for whom the pursuit, handling and possession of such objects was what mattered. More
Illuminator, painter, scribe, clerk, teacher, doctor of theology, restorer and binder, Mesrop was one of the greatest Armenian artists of his and following generations. He was prolific, working for at least forty-two years in Sos (New Julfa) from 1608 to 1651. This book will be the first serious study of the forty-six of his manuscripts that have survived. The focus of the book, however, is The Four Gospels, one of the few manuscripts painted entirely by Mesrop’s hand and one of the most extensively illuminated in his oeuvre. More
In the winter of 1586, Hakob Jughayets'i, one of Armenia's most celebrated illuminators, completed work on a Gospel Book with an extensive and extraordinary programme of narrative miniatures and marginal figures. More
Remembering Forward presents works by nine of the most prominent Australian Aboriginal artists: Paddy Bedford, Emily Kame Kngwarreye, Queenie McKenzie, Dorothy Napangardi, Rover Thomas, Ronnie Tjampitjinpa, Clifford Possum Tjapaltjarri, Tim Leura Tjapaltjarri and Turkey Tolson Tjupurrula. More
