Accompanied an exhibition at the Dulwich Picture Gallery, 29 June–25 September 2011
AVAILABLE FROM OUR US DISTRIBUTOR. PLEASE FOLLOW THE LINK
168 pages, hardback, 280 x 240 mm, 100 colour illustrations
PRICE: £30.00
ISBN: 9781907372261
Out of print in the UK, but still available in the US and Canada. CLICK HERE
Accompanying a unique exhibition of the work of the late Cy Twombly (1928–2011) and Nicolas Poussin (1594–1665) to be held at Dulwich Picture Gallery, London, 29 June–25 September 2011, this catalogue (published also to celebrate the Bicentenary of Dulwich Picture Gallery) will draw upon one of the great strengths of the permanent collection of works by Poussin and ally this to an exhibition firmly rooted in the present.
In 1624 and 1957, two artists, aged thirty, moved to Rome. Nicolas Poussin and Cy Twombly subsequently spent the majority of their lives in the Eternal City, and went on to become the preeminent painters of their day. This book looks at these two figures side by side for the first time, examining through common themes, subject matter and motifs, how the two painters, separated by three centuries, nonetheless engaged with shared interests and concerns. It explores a few of the common themes and subjects that Twombly and Poussin have shared, from Arcadia and the pastoral, through to figures such as Achilles, Apollo and Parnassus, Bacchus and the Bacchanalia, Flora, Galatea, Orion, Orpheus, Mars, Narcissus, Pan, and Venus, through to both painters’ late versions on the theme of The Four Seasons.
The catalogue consists of around thirty paintings and drawings, structured thematically around the six rooms of the exhibition, each devoted to key shared themes: Arcadia and the pastoral, Venus and Eros, Battle and Beheading, Apollo and Parnassus, Bacchus and Pan, and The Four Seasons. The exhibition has already received enthusiastic support and loans from major private and public collections around the world, including The National Gallery, London; Tate; The Royal Collection; Museo del Prado, Madrid; The Brandhorst Museum, Munich; The Israel Museum, Jerusalem; The Art Institute of Chicago; and Twombly himself.
Celebrating the Beckett Centenary. Awarded third prize by The Art Newspaper/Axa Art Prize for best catalogue of the year published in the UK - "admired for the quantity of new material it presented about Beckett himself and the worlds of literature and visual arts". More
Seldom has there been a gift of equal magnificence. In 1947 the 7th Duke of Wellington presented to the nation his London residence – Apsley House – together with a large part of its contents, the collection of the 1st Duke. Among the paintings are some of the finest canvases from the Spanish Royal Collection, captured by the 1st Duke of Wellington from Joseph Bonaparte in 1813. There are also important seventeenth-century Dutch paintings bought by the 1st Duke himself, as well as a series of French and British portraits of his illustrious contemporaries and depictions of battle scenes, which provide a visual record of the Napoleonic period. More
The Harold Samuel Art Collection is a unique collection of 17th-century paintings from the Golden Age of Holland. Bequeathed to the City of London in 1987 by Lord Harold Samuel of Wych Cross, a wealthy property developer and entrepreneur, this remarkable collection of 84 works – the best collection of Dutch and Flemish art in Britain – enriches the splendor of the interior of the Mansion House. More
Celebrating the 250th anniversary of the opening of the Hunterian Museum in Glasgow in 2007, this book provides a full study both of William Hunter - the many-faceted surgeon/connoisseur - and of his collection of art, which not only contains a number of outstanding masterpieces, such as a Rembrandt, but also provides a revealing snapshot of the taste of the period. While illuminating this crucial transitional period in British art, the book is at the same time a catalogue of the Hunterian collection. More
This book is about a family tree: the line of descent that can be traced from Perugino in Italy in the fifteenth century to Edouard Manet in France in the nineteenth. It is not the usual kind of genealogy, of those connected by blood, more an ‘apostolic succession’, following the way in which art in Europe was taught, from one generation to the next, from 1480 to 1880. More
Accompanying an exhibition that promises to be the most comprehensive survey of Indian painting that the West has ever seen, this beautiful two volume 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 Dürer, Michelangelo or Vermeer. More
The group of about one hundred French bronzes in the Wallace Collection is justly considered one of the finest such collections in the world. Fifty-one of the best are featured in this book, the first in-depth study of the subject in English. More
Since the early Bronze Age the sword has been a sign of wealth, status and the power of divine right. Yet, before the sixteenth century the sword was almost never carried on the person in everyday life. It was a rare, noble weapon, carried into battle by the aristocratic warrior class but set aside in time of peace. However, the increasing prominence of the Renaissance middle classes brought a fundamental change to the sword's place in society. Now large numbers of non-noble but often wealthy and upwardly mobile people could also afford rich things like fine clothes, jewelry and weapons. More