National Gallery of Art

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Learn more about the history and architecture of the National Gallery of Art in “National Gallery of Art: Architecture + Design,” written by the Gallery’s Chief Architect, Susan Wertheim, and Chief of Gallery Archives, Maygene Daniels.

Daniels and Wertheim offer perspectives on the history and construction of the museum that are amply illustrated with period and contemporary views as well as archival images of its design development. Their essay demonstrates the fascinating history and great allure of many visual aspects of the Gallery's designed spaced, and in so doing, provides a deeper understanding of the museum.

‪#‎ArtAtoZ‬ ‪#‎Modernism‬

http://1.usa.gov/1LxOnZv

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National Gallery of Art: Architecture + Design

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Description

Maygene Daniels and Susan Wertheim

This small book presents a brief history of the National Gallery of Art campus with an emphasis on the beauty and rationale of its design. Developed over the course of almost 75 years, the Gallery's campus offers visitors from around the world an opportunity to see art in an architectural and landscape setting of striking beauty. The West Building (John Russell Pope,1941) and East Building (I.M. Pei,1978), connected by an underground structure and a street-level plaza, as well as the Sculpture Garden (Laurie D. Olin, 1999) all embody the institution's rich cultural contribution to public life today.

Authors Maygene Daniels and Susan Wertheim offer perspectives on the history and construction of the museum that are amply illustrated with period and contemporary views as well as archival images of its design development. Their essay demonstrates the fascinating history and great allure of many visual aspects of the Gallery's designed spaced, and in so doing, provides a deeper understanding of place. Overall, this text enriches the visiting experience for those who come to study and enjoy the Gallery's collections in Washington, DC.

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• Softcover
• 6 x 5.5 inches
• 64 pages, 63 images (17 black & white and 46 color)
• Published: 2014

SEIJI FUJISHIRO:Expressing the Joy of Life through Light and Shadow

NHK WORLD 新增了 2 張新相片。

This year marks the 70th anniversary of the end of World War II. 80% of the Japanese population was born after the war, and the people who are old enough to remember it are all elderly. How will they pass on their stories? One man who is telling his story is the artist Seiji Fujishiro, age 91, well known in Japan for his "shadow pictures”. Why did Fujishiro feel compelled to make art about his experience of war? We ask this and many more questions as we explore Japan 70 yearsafter the war.

Face to Face
SEIJI FUJISHIRO
Expressing the Joy of Life through Light and Shadow
June 30 Tue. 0:30 / 6:30 / 12:30 / 18:30 (JST)
http://www.nhk.or.jp/nhkworld/english/tv/facetoface/

Social History of Art. Mannerism：The Crisis of the Renaissance and the Origin of Modern Art

Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages

Arnold Hauser

Routledge, Jun 27, 2005 - Art - 328 pages

0 Reviews

First published in 1951 Arnold Hausers commanding work presents an account of the development and meaning of art from its origins in the Stone Age through to the Film Age. Exploring the interaction between art and society, Hauser effectively details social and historical movements and sketches the frameworks in which visual art is produced.
This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction to The Social History of Art, Jonathan Harris asseses the importance of the work for contemporary art history and visual culture. In addition, an introduction to each volume provides a synopsis of Hausers narrative and serves as a critical guide to the text, identifying major themes, trends and arguments.

Contents

Prehistoric times	1
Art from the age of the migrations to the Carolingian	4
animism and geometrism	8
art as a profession	17
AncientOriental urban cultures	22
Greece and Rome	49
The archaic style and art at the courts of the Tyrants	60
Classical art and democracy	72

The artistic style of Byzantine Caesaropapism	116
Causes and consequences of iconoclasm	123
The miniature painting of the Irish monks	130
The cultural monopoly of the Church	136
The epic poets and their public	142
The organization of artistic production in the monasteries	152
Feudalism and the Romanesque style	159
The romanticism of court chivalry	175

The age of enlightenment in Greece	81
The Hellenistic age	91
The Empire and the end of the ancient world	97
VII	108
The Middle Ages	109

The dualism of Gothic art	210
Lodge and guild	222
The middleclass art of the late Gothic period	230
Copyright

Title The Social History of Art: Renaissance, mannerism, baroque, Volume 2
Volume 2 of The Social History of Art, Arnold Hauser, ISBN 041521386X, 9780415213868
The social history of art: Renaissance, Mannerism, Baroque, Jonathan Harris (historyk sztuki), ISBN 041521386X, 9780415213868
Author Arnold Hauser
Edition illustrated, reprint, revised
Publisher Routledge, 1999
ISBN 0415199468, 9780415199469
Length 232 pages

Social History of Art, Volume 3: Rococo, Classicism and Romanticism

Front Cover

Arnold Hauser

Routledge, Aug 19, 2005 - Art - 288 pages

0 Reviews

First published in 1951 Arnold Hausers commanding work presents an account of the development and meaning of art from its origins in the Stone Age through to the Film Age. Exploring the interaction between art and society, Hauser effectively details social and historical movements and sketches the frameworks in which visual art is produced.

This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction to The Social History of Art, Jonathan Harris asseses the importance of the work for contemporary art history and visual culture. In addition, an introduction to each volume provides a synopsis of Hausers narrative and serves as a critical guide to the text, identifying major themes, trends and arguments.

Contents

The dissolution of courtly art	1
The new reading public	34
The origins of domestic drama	77
Germany and the enlightenment	92
Revolution and art	122
German and western romanticism	153
The struggle for the theatre	187

Pixerecourt	193
English romanticism	195
Walter Scott and the new reading public	203
The dissolution of classical form in music	210
Index	223
Copyright

Mannerism
The Crisis of the Renaissance and the Origin of Modern Art

Arnold Hauser

Product Details

PAPERBACK

$26.50 • £17.95 • €24.50

ISBN 9780674548152

Publication: 1965/March 1986  *Routledge & Paul, 1965

This informative book: Mannerism: The Crisis of the Renaissance and the Origin of Modern Art is a gem. This volume is for anyone interested in painting and in the history of ideas. One of the greatest interest to Renaissance scholars and students, they will find this work pregnant with a thousand provocative ideas.

Contents

THE CONCEPT OF MANNERISM	3
THE DISINTEGRATION OF THE RENAISSANCE	23

THE ORIGIN OF THE SCIENTIFIC OUTLOOK Mannerism: The Crisis of the Renaissance and the ... - JStor www.jstor.org/stable/1770063

Portrait of Pope Benedict XVI Made of Condoms Draws Complaints in Milwaukee

By MITCH SMITH

 JUNE 29, 2015 2:58 PM June 29, 2015 2:58 pm

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Photo

“Eggs Benedict” by Niki Johnson.Credit Eric Baillies

The unusual medium used to create a portrait of Pope Benedict XVI — 17,000 stretched-out condoms in a variety of colors — has upset Roman Catholic leaders in Milwaukee, where the piece is housed.

The Milwaukee Art Museum recently accepted the portrait of the grinning pontiff, titled “Eggs Benedict,” from a donor, but it is not currently on display because the museum’s main galleries are being renovated. Benedict, who resigned in 2013, is now pope emeritus.

Niki Johnson of Milwaukee, the artist who created the work, said in an interview that she disagreed with Benedict’s conservative social positions, including a statement that condoms could contribute to the spread of AIDS in Africa. The portrait, she said, is “not hate-based,” but rather a way to critique Benedict’s views while raising awareness about public health.

“What I want to do is really destigmatize the condom, normalize it,” Ms. Johnson said. “I’ve watched kids and parents talk about condoms. It opens a door to talking about what those things are and what they do.”

Archbishop Jerome E. Listecki of Milwaukee, in a blog post, criticized the museum’s decision to accept the piece, and suggested that artwork about other groups — with Gandhi and an Uzi, Lincoln in Ku Klux Klan garb or Hitler with a scullcap reading the Torah — might not be considered acceptable.

“Some may want me to be more upset at the museum for their callousness – calling for boycotts, suppression of donations or picketing,” Archbishop Listecki wrote. “God, religion and faith have been insulted by others throughout the ages and by autocrats and movements far superior to our little local museum.”

News of the backlash to the work was reported earlier by The Milwaukee Journal-Sentinel.

Museum officials said they were not aware of any donors withdrawing gifts because of the piece, and knew of only one benefactor who vowed to not give in the future.

“Our hope is that the piece will bring not only controversy, but room for conversation about the underlying discussion the artist intended as well as regarding the role of art in public discussion,” Dan Keegan, the museum’s director, said in a statement.

It took a flash of insight for Pei to realize the essential form his building would take and how to position it in relation to the West Building.

National Gallery of Art

As demonstrated in this early sketch by a member of I.M. Pei’s design team, the irregular shape of the building site itself presented the architects with the most significant challenge.

It took a flash of insight for Pei to realize the essential form his building would take and how to position it in relation to the West Building. He later recalled the moment: “I was returning to New York after a Gallery meeting in 1968 trying to find a solution to that difficult site. I sketched a trapezoid on the back of an envelope. I drew a diagonal line across the trapezoid and produced two triangles. That was the beginning.”

‪#‎ArtAtoZ‬ ‪#‎Modernism‬

Detail, concept sketches from the Yann Weymouth notebook, September 1968 - January 1969, Gift of I.M. Pei and Partners, National Gallery of Art Archives