Böcker utgivna av Pennsylvania State University Press

Presents a comprehensive art-historical study of the personal prayerbook of King Louis IX. This book approaches the St Louis Psalter through a range of perspectives and methodologies and positions it within the contexts of its production and use.

Edvard Munch (1863-1944) has attained lasting fame for paintings and prints--above all The Scream--that express the isolation and anxieties of the modern condition, Recently, the Philadelphia Museum of Art acquired a large Munch painting, Mermaid, little known outside a small circle of experts because it had never been displayed in museums or galleries. To introduce this important work to the public, the Museum has organized an exhibition that presents Mermaid alongside related paintings, drawings, and prints. Edvard Munch's Mermaid, which accompanies the exhibition, provides the first comprehensive discussion of the painting's history and significance. The Norwegian industrialist and collector Axel Heiberg commissioned Mermaid from Munch in 1896, when the artist was living in Paris, absorbing the city's intellectual life, expanding his work as a printmaker, and extending his activities to new realms, such as designing the theater sets and program for Henrik Ibsen's play Peer Gynt. The first two essays in this book from the Philadelphia Museum of Art situate Mermaid, Munch's first decorative painting, within the rich ferment of this period in his life. The painting's Norwegian imagery, Symbolist ethos, and Art Nouveau influences are explored even as its relationship to Munch's printmaking of 1896-97 and other artistic activities is elucidated. Mermaid was removed from Heiberg's house in 1938 and was converted by a restorer from a trapezoidal format to a standard rectangle. The final essays discusses the changes to the painting in light of Munch's highly personal and complex views on the alteration of his works. Edvard Munch's Mermaid reproduces all the prints, drawings, and paintings inthe exhibition at the Philadelphia Museum of Art, September 24-December 31, 2005.

I remain fascinated by the tricky nature of Duchamp's readymades--objects transformed into art, but not quite. They always retain their original identity of function. This is why many people refer to Fountain in a casual way as "the urinal." For me this is an acknowledgement that the work is part art, part not-part object, part sculpture. In insist that we see the readymades produced in the 1960s as quite different from the readymades that were purchased by Duchamp in the teens. They are different objects, with different sets of rules. Hence they behave differently in the gallery and ultimately mean different things. I have also tried to keep Duchamp's readymades in dialogue with his lifelong interest in eros. These two strains of his thought have been kept separate--wrongly, I think--in the American reception of Duchamp. I am trying to map a genealogy of postwar sculpture that challenges the Minimalist/Post-Minimalist sequence maintained in most accounts of the period. The exhibition begins in the 1950s and comes up to the present. Also, it has become increasingly difficult to narrate postwar art as predominantly or exclusively American. Artists have been engaging in an enormous transatlantic dialogue. No, not at all. It is precisely the constellation of figures like Burri, Duchamp, and Bourgeois, and then Duchamp and Hesse and Johns, and then Duchamp and Kusama and Gober, and then Duchamp and McElheney and Orozco, that makes the exhibition so potentially interesting. I asked writers who were working on the artists in the show and have won my admiration for the sensitivity of their writing and the unconventional nature of their thought. I then allowed them to write what they pleased.The outcome is a book to be considered as another site where the counter-genealogy is being built and argued for.

Emerging in Spain after 1250, Jewish narrative figurative painting became a central feature in a group of illuminated Passover Haggadot in the early decades of the fourteenth century. This book describes how the Sephardic Haggadot reflect different visualizations of scripture under various conditions and aimed at a variety of audiences.

Since the production of the first negative by William Henry Fox Talbot 1835, English photography has played a central role in revolutionizing the production of images, yet has largely evaded critical attention. Edwards investigates this new enterprise, and specifically how professional photographers shaped a strange aesthetic for their practice.

From minstrelsy to the folk music revival of the twentieth century, the banjo has continued to attract audiences and acquire meaning. This book offers an examination of the instrument's portrayal in images that range from anonymous photographs of performers to paintings by Thomas Eakins and prints by Dox Thrash.

Many patrons of the arts in 19th-century America collected paintings and sculpture from England or Italy. Collectors in Baltimore looked to France for models of culture and assembled extensive collections of drawings by French masters. This is a discussion of the formation of these collections and their significance for the history of French art.

During the 1930s, American artists, such as Ben Shahn, developed a mode of representation generally known as Social Realism. Presenting an assessment of Social Realism, this book contends that the radical, "realistic" art of the Americas during the 1930s was shaped as much by hemispheric exchange as by emulation of the European avant-garde.

Despite their anonymity, the images are, as a group, readily distinguished from local products anywhere else in the Spanish colonial world. This work contains essays that explore the Catholic instruments of religious devotion produced in New Mexico from around 1760 until the radical transformation of the tradition in the twentieth century.

Since the Renaissance, most art has been prized because of the prodigious skills that went into its making. Why would any artist choose to work with slides? Is the development of slide art connected to the ferment of the 60s? This book examines Slide Art.

The Philadelphia Museum of Art is fortunate to have a collection of Italian drawings that encompasses a broad sweep of Italy's art history, from the Renaissance to Futurism to the contemporary. With this publication, 80 of these drawings are provided with insightful commentary, scholarly analysis, and biographies of the artists.

Carl Brandon Strehlke, Adjunct Curator has prepared a scholarly examination of the Johnson Collection. His discussion of such art historical questions as dating and attribution combines extensive archival research with technical study of the paintings.

In this interdisciplinary book, Keala Jewell reunites Giorgio de Chirico (1888-1978) with his brother, Alberto Savinio (1891-1952), a prolific writer and painter who has been kept at the margins of the discussion of surrealism and, more generally, the culture politics of 20th-century Italy.

In this work, Jody Blake traces the profound impact African sculpture and African American music and dance had upon Parisian popular entertainment as well as upon avant-garde, modernist art, literature, and theatre.

Looking closely at paintings from ca 1200 in the church of Saint Aignan-sur-Cher, Kupfer traces their links to burial practices, the veneration of saints and the care of the sick in nearby hospitals, in an exploration of the significance of architecture and image-making in medieval society.

"Cities and Saints" contends that Sufis in medieval Anatolia made alliances that gave dervish lodges powers so vast that they were able to alter the layout of cities and serve as the means of forging new social bonds.

This study of 18th-century villas and their representation in Marc'Antonio Dal Re's prints aims to deepen understanding of designed, recreational landscapes as both spatial expression and aesthetic obscuring of social and environmental relations in the Habsburg empire.

Creighton Gilbert's study of the frescoes of the Cappella Nuova in the cathedral of Orvieto explains the commissioning, iconography and structure of this extraordinary cycle of paintings, begun by Fra Angelico in the early 1400s and completed a half-century later by Luca Signorelli.

The pace and scale of the exchange of cultural goods of all sorts increased sharply in 19th century Spain, and new institutions and practices for exhibiting "art" were soon formed. Vazquez maps this cultural landscape.

A study of French sculptor and political activist, Jean Baffier, a promoter of regional culture and a militant nationalist who attempted a political assassination.. It explores the range of Baffier's activities and shows that he was pursuing a vast scheme of national purification and rebirth.

Using the Spinelli family archive, this text paints a picture of the Florentine merchant family's ascent to prominence in the 14th and 15th centuries. Focusing on Tommaso Spinelli, arts patronage, papal finance and silk and wool manufacturing is glimpsed through letters and financial ledgers.

Ascanio Condivi was a pupil of, and assistant to, the great artist Michelangelo. This is a translation of Condivi's biography of Michelangelo. It tells the story of his life, his relationship with his patrons, his objectives as an artist and his accomplishments.

This study seeks to situate Bazille within the complex art world of the 1860s. It examines a series of major paintings and critical essays by Bazille and his contemporaries and frames them within the modernist discourse about purity, or respecting the proper limits of the medium.

A broad look at the humorous side of photography during its first 75 years. It presents a wide range of examples found in cartoons, literature, music, fashion and advertising, and takes readers behind the technical and commercial uses of the photographic medium.

How do psychoanalytic, semiotic, deconstructive, and other interpretations represent works of art? The author suggests in this book that the philosophic problems posed by this question and others are insuperable. He argues that art history as writing must be taken seriously for its own sake.

This text examines the development of royal imagery in Georgia between the 9th and 13th centuries, particularly focusing on the five surviving images of Queen Tamar. The author shows how the portraits demonstrate the relationship between art and power, and the transmission of ideas to an audience.

Images of women were ubiquitous in America at the turn of the last century. This study argues that the artists' concept of art coincided with the construction of gender in American culture. It looks at these images of women across stylistic boundaries and within the wider context of European art.

With the exception of early Egypt and Minoan Crete, no early culture had such a vigorous stone vase-making industry as the Cyclades. For each vessel type, Pat Getz-Gentle considers the material used, the size range, the formal characteristics and variation, and manufacturing methods.