Orfèvrerie française du XIXe siècle

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Daniel Marchesseau

"This volume presents Diego Giacometti's oeuvre almost in its entirety and offers many heretofore unpublished insights into his life and work. From his childhood in a small village in Switzerland, through his adolescent wanderings, his collaborative efforts with his brother in Paris, and his coming-of-age as a furniture-maker and sculptor, all the way up to the pinnacle of his career - his last and greatest commission, the furniture and lighting fixtures for the Musée Picasso in Paris - Diego's intellectual and technical developments are probed in this book. Daniel Marchesseau examines the work that made Diego famous: his bronze-cast tables, chairs, and accessories, and the tiny bestiary that decorated them; his bronze and plaster sculpture; and the work he completed with his brother Alberto."--book jacket.

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Fabio Mariano

This essay enlights the leading military role played by the city and harbour of Ancona in the Marches, against Muslims attacks, during the XVI century. Antonio da Sangallo jr. designed the strong "Cittadella" above the Astagno hill and other famous military architects carried on the huge "Campo Trincerato" around it, such as Pier Francesco da Viterbo, Giovan Battista Pelori, Pellegrino Tibaldi, Francesco Paciotto, Giacomo Fontana, etc. Born in Ancona, Fontana wrote (1588) a report for pope Sisto V on conditions of the fortifications of his mother town, with several drawings (Codex Vaticano Latino n.13325), which is interely published and widely explicated here, for the first time, by Mariano.

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Patricia Mainardi

The End of the Salon: Art and the State in the Early Third Republic examines the cultural forces that contributed to the demise of the most important series of art exhibitions in nineteenth-century Europe and America. Tracing the history of the Salon from the French Revolution, when it was taken away from the Academy and opened to all artists, to its abandonment by the state in the 1880s, Patricia Mainardi shows that its contradictory purposes, as both didactic exhibition venue and art marketplace, resulted in its collapse. She situates the Salon within the shifting currents of art movements, from modern to traditional, and the evolving politics of the Third Republic, when France chose a republican over a monarchic form of government. This book provides a rich overview of art production during the final decades of the nineteenth century, government attitudes toward the arts in the early Third Republic, and the institution of exhibitions as they were redefined by free-market economics. The End of the Salon demonstrates how all artists were forced to function within the framework of the major social, economic, and cultural changes taking place in France during the nineteenth century and, as a result, how art history and social history are inextricably intertwined.

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Jacob Bean

This volume describes and reproduces 379 drawings by Italian artists of the seventeenth century in The Metropolitan Museum of Art. The most brilliant draughtsmen of this period--Annibale Carracci, G. B. Castiglione, Pietro da Cortona, Guercino, Carlo Maratti, and Salvator Rosa--are well represented in the Museum's collection, and the book offers a survey of Italian baroque draughtsmanship. It includes innovative work by Carracci, as well as drawings by such late baroque masters as Sebastiano Ricci and Francesco Solimena. Four hundred five illustrations are contained in this inventory. Entries for the drawings provide essential bibliographical references, provenance, and a discussion of the purpose of the drawing when known. -- Inside jacket flap.