Table Of Content

f\ IV PHAIDON MA 02116 Boston, THE ART BOOK PhaidonPressLimited Regent'sWharf AllSaintsStreet Londonni 9PA Firstpublished 1994 Reprinted 1995, 1996 Thisedition 1996 ©1994PhaidonPress Limited ISBNo7148 3625 7 AOPcataloguerecordfor thisbookisavailablefrom theBritishLibrary. LibraryofCongress CataloginginPublication Dataavailable. Allrightsreserved.Nopart ofthispublicationmaybe reproduced,storedina retrievalsystemortransmit- ted,inanyformorbyany means,electronic,mechani- cal,photocopying,recording orotherwise,withoutthe priorpermissionofPhaidon PressLimited. PrintedinSingapore abbreviations: C=circa b=born d=died h ii<...In W width I=length diam diameter Thepublishershavemade <>rttoinclude dimensionswherever possible. Assomefrescos illustratedarepartoflarge cycles,coveringentire rooms,1hecorrectmeasure- mentshavebeenimpossible toacquireandaretherefore omitted. 1 THE ART BOOK presents a whole new way of looking at art. Easy to use, informative and fun, it's an A to Z guide of 500 great painters and sculptors from medieval to modern times. It debunks art-historical classifications by throwing together brilliant examples of all periods, schools, visions and techniques. Only here could Michelangelo be considered with Millais, Picasso with Piero della Francesca and Rodchenko with Rodin. Each artist is represented by a full-page colour plate of a typical work, accompanied by explanatory and illuminating information on each image and its creator. The entries are comprehensively cross-referenced and glossaries of artistic movements and technical terms are included, together with an international directory of galleries and museums to visit. By breaking with THE ART BOOK traditional classifications, presents a fresh and original approach to art: an unparalleled visual sourcebook and a celebration of our rich and multi-faceted culture. The500artistspage4Glossaryoftechnicalterms 1Glossaryofartisticmovementspagt Directoryofmuseumsandgalleriespage11 u Agasse Jacques-Laurent TheNubianGiraffe Agiraffeleansitslong,slendernecktoreachthebowlheld theGii.uTc indKeepers'.Thegentlemandepictedwearinga byitsArabkeepers.TwoEgyptiancowscanbeseeninthe tophatisEdwardCross,awell-knownimporterofforeign background.Withthedevelopmentofcommunication birdsandanimalsfortheroyalmenagerie.Bornin links,tradersoftheearlynineteenthcenturywereableto Switzerland,AgasselivedinEnglandfrom1800wherehe travelfartherandfartherafieldandreturnwithincreasingly achievedconsiderablesuccesspaintingsportingscenesand exoticgifts.Giraffes,lionsandleopardsweregivento exoticanimals.Healsopaintedanumberofportraitsof wealthylandownersandAgasse,beingrenownedforhis noblemenonhorseback. acuteattentiontodetail,wasoftencommissionedtopaint them.KingGeorgeIVpaidAgasse£200for'apictureof «- Audubon,Landseer,Longhi,Stubbs Jacques-LaurentAgasse.bGeneva,1767.dLondon.1848 TheNubianGiraffe.1827.Oiloncanvas.hl27xwl01.5cm.h50kxw40i TheRoyalCollection,WindsorCastle.Windsor Albersjosct HomagetotheSquare Foursquaresofyellownesttogether.Despitearigid Post-PainterlyAbstractionmovement.Between 1920and format,thevfloatfreely,creatinganopticalillusionof 1923AlbersstudiedatthefamousBauhausschool.He anotherdimension.Hachareahasbeenpaintedinasingle joinedthestaffin 1923.ADutchmanbybirth,Albers colour.Thepainthasbeenappliedwithaknife,direcdy movedtotheUSAin 1933,wherehetaughtmany fromthetube.Albers'mostfamousseriesofpaintings, establishedartistsattheBlackMountainCollegeandYak ofwhichthisisone,showssquarescreatedfrompure University.HisinfluentialbookTheInteractionofColorwas colour.Theopticalillusioncreatedinthispicturemeansit publishedin1963.Inthisheexplorestheperceptionof isrelatedtotheOpArtmovement.Yetthewaythepaint colour,whichwasadominantthemethroughouthislife. hasbeenappliedandtheuseofcolourlinkitwiththe «"Andre.VanDoesburg.Kelly.Klee.Reinhardt,Vasarely JosefAlbers.bBottrup.1888.dNewHaven.CT.1976 HomagetotheSquare.1964.Oilonpanel.h76.2/w76.2cm.h30xw30in.TateGallery.London AlgardiMess \lessandro BustofCardinalPaoloEmilioZacchia Thecardinal'sfinerobes,lacecuffsanddistinctive thetL'-r.'^ovantapproachofhiscontemporaryGianlorenzo moustacheandbeardtelltheviewerimmediatelythatthisis Bernini.ThismaybebecausehetrainedinBolognaunder adistinguishedindividual.Themarbleportraithasaspark thepainterLodovicoCarracci(thecousinofAnnibale) oflifethatshowsAlgardi'scloseobservationofthe beforeembarkingonacareerinRome.Oneofthe cardinal'sfeatures.Aswascustomaryatthetime,Algardi century'sforemostItaliansculptors,Algardiwas originallysculptedthisbustinterracotta.Thiswouldhave commissionedtomakemanyimportantworkswhilein beenusedasastudybeforemakingafinalversioninthe Rome,includingthetombofLeoXIinStPeter'sanda moreexpensivemediumofmarble.Althoughanartistof bronzestatueofInnocentX. theBaroqueperiod,AJgardi'sStyleismorereservedthan (•-Bacon,Bernini,Carracci,Houdon,Manzu AlessandroAlgardi.bBologna,1595.dRome,1654 BustofCardinalPaoloEmilioZacchia.C1625/30.Marble.hl21cm.h47%in.MuseoNazionaledelBargello,Florence 1 AllStOn Washington Landscapewith a Lake Apathwithafigurebyalakeleadstheviewerintoastark muchadmiredinEnglandatthetime.However,hesoon landscapethathasahauntingsenseof"emptiness.The developedamoresublime,melodramaticconceptionofthe plantsintheforeground,thetreesandgnarledtrunksareall landscapeinthemannerof|MWTurnerand|ohnMartin. carefullyrenderedingreatdetail.Allstonwasthegreatestof Allston'sportraitsandcanvasesonscripturalthemeswon NorthAmerica'sRomanticpainters.Hislandscapesglorify himgreatacclaim,whilethepoetryhewrotewassomewhat thenaturalwondersoftheNewWorld.Asayoungmanhe lessenthusiasticallyreceived. studiedinLondon''wherehewasapupilofhiscompatriot BenjaminWest)andRome.Hisearlylandscapepaintings weredirectlyinspiredbytheFrenchartistClaude,whowas Bierstadt.Claude.Cozens.Hodler.Martin.West.Turner WashingtonAllston.bCharleston.SC.1779.dCambridge.MA.1843 LandscapewithaLake.1804.Oiloncanvas.H96.5xW130.2cm.h38xw51;/4 MuseumofFineArts.Boston.MA Alma-Tadema SirLawrence ACoignofVantage ThreeRomanwomenwatchthereturnofgalleysfroma lifetime.Hi.-.Neo-ClassicalportrayalsofancientRoman, corner,or'coign'.Thischarmingworkconveysasenseboth GreekandEgyptianlifewerehighlypopularwithVictorian ofheightandofwarmsunlight.Thefabricofthewomen's society.Theyalsoshowedtheartist'sknowledgeof clothes,themarbleledgeandthebronzebeastareall archaeologyandsocialhistory.OnseveraloccasionsAlma- renderedingreatdetail.Inthehandlingofthewomenand Tademawascommissionedfortheatredesigns,inparticular theseafarbelow,theartistshowshisgreatskillwith SirHenryIrving's1901productionofCoriolanusatthe complicatedperspective.ADutchpainterwhomovedto LyceumTheatreinLondon. Englandin1870,Alma-Tademahadasuccessfulcareerand waslavishedwithpersonalandprofessionalhonoursinhis <•"Carpaccio.Leighton,Poussin,Waterhouse SirLawrenceAlma-Tadema.bDrontyp,1836.dWiesbaden,1912 ACoignofVantage.1895.Oiloncanvas.h64.2xw45cm.h25V4xwl73/iin.Privatecollection