From one of the world's most expert art critics, the incredible true story--part art history and part mystery--of a Velázquez portrait that went missing and the obsessed nineteenth-century bookseller determined to prove he had found it. When John Snare, a nineteenth-century provincial bookseller, traveled to a liquidation auction, he stumbled on a vivid portrait of King Charles I that defied any explanation. The Charles of the painting was young--too young to be king--and yet also too young to be painted by the Flemish painter to which the work was attributed. Snare had found something incredible--but what? His research brought him to Diego Velázquez, whose long-lost portrait of Prince Charles has eluded art experts for generations. Velázquez (1599-1660) was the official painter of the Madrid court, during the time the Spanish Empire teetered on the edge of collapse. When Prince Charles of England--a man wealthy enough to help turn Spain's fortunes--ventured to the court to propose a marriage with a Spanish princess, he allowed just a few hours to sit for his portrait. Snare believed only Velázquez could have met this challenge. But in making his theory public, Snare was ostracized, victim to aristocrats and critics who accused him of fraud, and forced to choose, like Velázquez himself, between art and family. A thrilling investigation into the complex meaning of authenticity and the unshakable determination that drives both artists and collectors of their work, The Vanishing Velázquez travels from extravagant Spanish courts in the 1700s to the gritty courtrooms and auction houses of nineteenth-century London and New York. But it is above all a tale of mystery and detection, of tragic mishaps and mistaken identities, of class, politics, snobbery, crime, and almost farcical accident. It is a magnificently crafted page-turner, a testimony to how and why great works of art can affect us to the point of obsession.
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In 1845, a Reading bookseller named John Snare came across the dirt-blackened portrait of a prince at a country house auction. Suspecting that it might be a long-lost Velázquez, he bought the picture and set out to discover its strange history - a quest that led from fame to ruin and exile. Fusing detection and biography, this book shows how and why great works of art can affect us, even to the point of mania. And on the trail of John Snare, Cumming makes a surprising discovery of her own. But most movingly, The Vanishing Man is an eloquent and passionate homage to the Spanish master Velázquez, bringing us closer to the creation and appreciation of his works than ever before.
From one of the world’s most expert art critics, the incredible true story—part art history and part mystery—of a Velazquez portrait that went missing and the obsessed nineteenth-century bookseller determined to prove he had found it. When John Snare, a nineteenth-century provincial bookseller, traveled to a liquidation auction, he stumbled on a vivid portrait of King Charles I that defied any explanation. The Charles of the painting was young—too young to be king—and yet also too young to be painted by the Flemish painter to which the work was attributed. Snare had found something incredible—but what? His research brought him to Diego Velazquez, whose long-lost portrait of Prince Charles has eluded art experts for generations. Velazquez (1599–1660) was the official painter of the Madrid court, during the time the Spanish Empire teetered on the edge of collapse. When Prince Charles of England—a man wealthy enough to help turn Spain’s fortunes—ventured to the court to propose a marriage with a Spanish princess, he allowed just a few hours to sit for his portrait. Snare believed only Velazquez could have met this challenge. But in making his theory public, Snare was ostracized, victim to aristocrats and critics who accused him of fraud, and forced to choose, like Velazquez himself, between art and family. A thrilling investigation into the complex meaning of authenticity and the unshakable determination that drives both artists and collectors of their work, The Vanishing Velazquez travels from extravagant Spanish courts in the 1700s to the gritty courtrooms and auction houses of nineteenth-century London and New York. But it is above all a tale of mystery and detection, of tragic mishaps and mistaken identities, of class, politics, snobbery, crime, and almost farcical accident. It is a magnificently crafted page-turner, a testimony to how and why great works of art can affect us to the point of obsession.
INTERNATIONAL BESTSELLER Acclaimed New York Times bestselling author of The Vanishing Velazquez Laura Cumming shares the riveting story of her mother’s mysterious kidnapping as a toddler in a small English coastal village—and how that event reverberated through her own family and her art for decades. In the fall of 1929, when Laura Cumming’s mother was three years old, she was kidnapped from a beach on the Lincolnshire coast of England. There were no screams when she was taken, suggesting the culprit was someone familiar to her, and when she turned up again in a nearby village several days later, she was found in perfect health and happiness. No one was ever accused of a crime. The incident quickly faded from her memory, and her parents never discussed it. To the contrary, they deliberately hid it from her, and she did not learn of it for half a century. This was not the only secret her parents kept from her. For many years, while raising her in draconian isolation and protectiveness, they also hid the fact that she’d been adopted, and that shortly after the kidnapping, her name was changed from Grace to Betty. In Five Days Gone, Laura Cumming brilliantly unspools the tale of her mother’s life and unravels the multiple mysteries at its core. Using photographs from the time, historical documents, and works of art, Cumming investigates this case of stolen identity with the toolset of a detective and the unique intimacy of a daughter trying to understand her family’s past and its legacies. Compulsive, vivid, and profoundly touching, Five Days Gone is a masterful blend of memoir and history, an extraordinary personal narrative unlike any other.
NOMINATED FOR THE 2019 NATIONAL BOOK CRITICS CIRCLE AWARD FOR AUTOBIOGRAPHY ONE OF NPR'S BEST BOOKS OF THE YEAR SHORTLISTED FOR THE BAILLIE GIFFORD PRIZE FOR NONFICTION SHORTLISTED FOR THE RATHBONES FOLIO PRIZE LONGLISTED FOR THE RSL ONDAATJE PRIZE The acclaimed New York Times bestselling author of The Vanishing Velazquez shares a riveting true story “with as many twists and turns as any mystery” (Los Angeles Times) describing her mother’s mysterious kidnapping as a toddler in a small English coastal village—“an incredible and incredibly unusual book about family secrets” (Nick Hornby, The Believer). In the fall of 1929, when Laura Cumming’s mother was three years old, she was kidnapped from a beach on the Lincolnshire coast of England. There were no screams when she was taken, suggesting the culprit was someone familiar to her, and when she turned up again in a nearby village several days later, she was happy and in perfect health. No one was ever accused of a crime. The incident quickly faded from her memory, and her parents never discussed it. To the contrary, they deliberately hid it from her, and she did not learn of it for half a century. This was not the only secret her parents kept from her. For many years, while raising her in draconian isolation and protectiveness, they also hid the fact that she’d been adopted, and that shortly after the kidnapping, her name was changed from Grace to Betty. “Both page-turning and richly absorbing” (The Providence Journal), On Chapel Sands (originally titled Five Days Gone) unspools the tale of Cumming’s mother’s life and unravels the multiple mysteries at its core. Using photographs from the time, historical documents, and works of art, Cumming investigates this case of stolen identity with the toolset of a detective and the unique intimacy of a daughter trying to understand her family’s past and its legacies. “Brilliant” (The Guardian) and “a story told with such depth of feeling and ob
**THE SUNDAY TIMES BESTSELLER** **SHORTLISTED FOR THE COSTA BIOGRAPHY AWARD** 'A modern masterpiece' Guardian Uncovering the mystery of her mother's disappearance as a child: Laura Cumming, prize-winning author and art critic, takes a closer look at her family story. In the autumn of 1929, a small child was kidnapped from a Lincolnshire beach. Five agonising days went by before she was found in a nearby village. The child remembered nothing of these events and nobody ever spoke of them at home. It was another fifty years before she even learned of the kidnap. The girl became an artist and had a daughter, art writer Laura Cumming. Cumming grew up enthralled by her mother's strange tales of life in a seaside hamlet of the 1930s, and of the secrets and lies perpetuated by a whole community. So many puzzles remained to be solved. Cumming began with a few criss-crossing lives in this fraction of English coast - the postman, the grocer, the elusive baker - but soon her search spread right out across the globe as she discovered just how many lives were affected by what happened that day on the beach - including her own. On Chapel Sands is a book of mystery and memoir. Two narratives run through it: the mother's childhood tale; and Cumming's own pursuit of the truth. Humble objects light up the story: a pie dish, a carved box, an old Vick's jar. Letters, tickets, recipe books, even the particular slant of a copperplate hand give vital clues. And pictures of all kinds, from paintings to photographs, open up like doors to the truth. Above all, Cumming discovers how to look more closely at the family album - with its curious gaps and missing persons - finding crucial answers, captured in plain sight at the click of a shutter. 'A moving, many-sided human story of great depth and tenderness, and a revelation of how art enriches life' Sunday Times **Longlisted for the Baillie Gifford Prize for Non-Fiction**
- Author : Tanya J. Tiffany
- Publisher : Penn State Press
- Release Date : 2012
- Genre : Art
- Pages : 239
- ISBN : 9780271053790
"Explores the early works of seventeenth-century Spanish painter Diego Velâazquez. Focuses on works from 1617 to 1623, examining the painter's critical engagement with the artistic, religious, and social practices of his native Seville"--Provided by publisher.
This book argues that hesitation as an artistic and spectatorial strategy connects various screen media texts produced in post-war Romania. The chapters draw a historical connection between films made during the state socialist decades, televised broadcasts of the 1989 Romanian revolution, and films of the new Romanian cinema. The book explores how the critical attitude of new Romanian cinema demonstrates a refusal to accept limiting, binary discourses rooted in Cold War narratives. Strausz argues that hesitation becomes an attempt to overcome restrictive populist narratives of the past and present day. By employing a performative and mobile position, audiences are encouraged to consider conflicting approaches to history and social transformation.
The tradition of painting is extraordinarily rich in imagination, invention, and skill and long after its advent, it still lies at the heart of art practice, inspiring generations of artists and enthusiasts alike. This book examines 100 of the most fascinating of such paintings by the world’s greatest artists: the way they were made, what they do well, and how and what we can learn from them. With detailed analyses and instructive creative tips sections, you can learn how to convey movement like Degas, apply acrylic like Twombly, and command colour like Matisse. The book explores the act of vision in each artwork, describing how the images were created and including practical tips and advice, allowing you to weave some of this magic into your own work. The paintings are organized into chapters which cover the important genres: nudes, figures, landscapes, still life, heads, fantasy, and abstraction. Selected masterpieces serve as perfect examples of a particular quality in painting; light and shade, rhythm, form, space, contour, and composition are all covered in detail. Perfect for students as well as professional painters, and with a broad historical and global reach, this book is an indispensable introduction to the rich history and practice of painting.
The startling conclusion of The Late Paintings of Vel?uez is that Diego Vel?uez painted two of his most famous works, The Spinners and Las Meninas, as theoretically informed manifestos of painterly brushwork. As a pair, Giles Knox argues, the two paintings form a learned retort to the prevailing critical disdain for the painterly. Knox presents a Vel?uez who was much more aware of the art theory of his era than previously acknowledged, leading him to reinterpret Las Meninas and The Spinners as representing together a polemically charged celebration of the "handedness" of painting. Knox removes Vel?uez from his Iberian isolation and seeks to recover his highly self-conscious attempt to carve out a place for himself within the history of European painting as a whole. The Late Paintings of Vel?uez presents an artist who, like Annibale Carracci, Poussin, Rembrandt, and Vermeer was not only aware of contemporary theoretical writings on art, but also able to translate that knowledge and understanding into a distinctive and personal theory of painting. In Las Meninas and The Spinners, Vel?uez propounded this theory with paint, not words. Knox's rethinking of the dynamic relationship between text and image presents a case, not of writing influencing painting, or vice versa, but of the two realms being inextricably bound together. Painterly brushwork presented a challenge to writers on art not just because it was connected too intimately with the base actions of the hand; it was also devilishly hard to describe. By reading Vel?uez's painterly performance as text, Knox deciphers how Vel?uez was able to craft theoretical arguments more compelling and more vivid than any written counterparts.
Diego Rodríguez de Silva y Velázquez (June 6, 1599 – August 6, 1660) was a Spanish painter who was the leading artist in the court of King Philip IV and one of the most important painters of the Spanish Golden Age. He was an individualistic artist of the contemporary Baroque period, important as a portrait artist. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family, other notable European figures, and commoners, culminating in the production of his masterpiece Las Meninas (1656).From the first quarter of the nineteenth century, Velázquez's artwork was a model for the realist and impressionist painters, in particular Édouard Manet. Since that time, famous modern artists, including Pablo Picasso, Salvador Dalí and Francis Bacon, have paid tribute to Velázquez by recreating several of his most famous works.Early lifeBorn in Seville, Andalusia, Spain, Diego, the first child of João Rodrigues da Silva and Jerónima Velázquez, was baptized at the church of St Peter in Seville on Sunday, June 6, 1599. This christening must have followed the baby's birth by no more than a few weeks, or perhaps only a few days. Velázquez's paternal grandparents, Diego da Silva and Maria Rodrigues, had moved to Seville from their native Porto, Portugal decades earlier. As for João Rodrigues da Silva and his wife, both were born in Seville, and were married, also at the church of St Peter, on December 28, 1597. They came from the lesser nobility and were accorded the privileges generally enjoyed by the gentry.Velázquez was educated by his parents to fear God and, intended for a learned profession, received good training in languages and philosophy. Influenced by many artists he showed an early gift for art; consequently, he began to study under Francisco de Herrera, a vigorous painter who disregarded the Italian influence of the early Seville school. Velázquez remained with him for one ye
What happens when we look at a painting? What do we think about? What do we imagine? How can we explain, even to ourselves, what we see or think we see? And how can art historians interpret with any seriousness what they observe? In six engaging, short narrative "fictions," each richly illustrated in color, Daniel Arasse, one of the most brilliant art historians of our time, cleverly and gracefully guides readers through a variety of adventures in seeing, from Velázquez to Titian, Bruegel to Tintoretto. By demonstrating that we don't really see what these paintings are trying to show us, Arasse makes it clear that we need to take a closer look. In chapters that each have a different form, including a letter, an interview, and an animated conversation with a colleague, the book explores how these pictures teach us about ways of seeing across the centuries. In the process, Arasse freshly lays bare the dazzling power of painting. Fast-paced and full of humor as well as insight, this is a book for anyone who cares about really looking at, seeing, and understanding paintings.
The consolidation of law and the development of legal writing during Spain's Golden Age not only helped that country become a modern state but also affected its great literature. In this fascinating book, Roberto Gonzalez Echevarria explores the works of Cervantes, showing how his representations of love were inspired by examples of human deviance and desire culled from legal discourse.
Robert Hughes, one of the most illuminating minds ever to have taken on the subjects of art and culture, uses his same critical abilities to give us a brutally intimate account of his early life, up until the time he quit Australia for the United States. Part memoir, part history lesson, part philosophical tract, Hughes uses his own experiences to examine the nature of art, war, sex, religion, writing and life itself. Piercing, razor-sharp, and above all, fearless, this is by far Hughes's most personal writing to date.
Interactive narrative is the cornerstone for many forms of digital media: web sites, interface design, gaming environments, and even artificial intelligence. In Pause & Effect, Mark Stephen Meadows examines the intersection of storytelling, visual art, and interactivity. He takes the key principles from these areas and applies them to the design, architecture, and development of successful interactive narrative. This provocative book will appeal to designers with its edgy aesthetic and artistic sensibility. Striking graphic and typographic imagery complement unique design features that encourage interactivity through varying levels of information, different navigational possibilities, and even flip-book animations.
Leo Steinberg was one of the most original art historians of the twentieth century, known for taking interpretive risks that challenged the profession by overturning reigning orthodoxies. In essays and lectures ranging from old masters to contemporary art, he combined scholarly erudition with an eloquent prose that illuminated his subject and a credo that privileged the visual evidence of the image over the literature written about it. His writings, sometimes provocative and controversial, remain vital and influential reading. Steinberg’s perceptions evolved from long, hard looking at his objects of study. Almost everything he wrote included passages of formal analysis, but always put into the service of interpretation. This volume begins and ends with thematic essays on two fundamental precepts of Steinberg’s art history: how dependence on textual authority mutes the visual truths of images and why artists routinely copy or adapt earlier artworks. In between are fourteen chapters on masterpieces of renaissance and baroque art, with bold and enlightening interpretations of works by Mantegna, Filippo Lippi, Pontormo, El Greco, Caravaggio, Steen and, finally, Velázquez. Four chapters are devoted to some of Velázquez’s best-known paintings, ending with the famously enigmatic Las Meninas. Renaissance and Baroque Art is the third volume in a series that presents Steinberg’s writings, selected and edited by his longtime associate Sheila Schwartz.
Over 4,000 lawyers lost their positions at major American law firms in 2008 and 2009. In The Vanishing American Lawyer, Professor Thomas Morgan discusses the legal profession and the need for both law students and lawyers to adapt to the needs and expectations of clients in the future. The world needs people who understand institutions that create laws and how to access those institutions' works, but lawyers are no longer part of a profession that is uniquely qualified to advise on a broad range of distinctly legal questions. Clients will need advisors who are more specialized than many lawyers are today and who have more expertise in non-legal issues. Many of today's lawyers do not have a special ability to provide such services. While American lawyers have been hesitant to change the ways they can improve upon meeting client needs, lawyers in other countries, notably Great Britain and Australia, have been better at adapting. Law schools must also recognize the world their students will face and prepare them to operate successfully within it. Professor Morgan warns that lawyers must adapt to new client needs and expectations. The term "professional" should be applied to individuals who deserve praise for skilled and selfless efforts, but this term may lead to occupational suicide if it becomes a justification for not seeing and adapting to the world ahead.
Japan today is haunted by the ghosts its spectacular modernity has generated. Deep anxieties about the potential loss of national identity and continuity disturb many in Japan, despite widespread insistence that it has remained culturally intact. In this provocative conjoining of ethnography, history, and cultural criticism, Marilyn Ivy discloses these anxieties—and the attempts to contain them—as she tracks what she calls the vanishing: marginalized events, sites, and cultural practices suspended at moments of impending disappearance. Ivy shows how a fascination with cultural margins accompanied the emergence of Japan as a modern nation-state. This fascination culminated in the early twentieth-century establishment of Japanese folklore studies and its attempts to record the spectral, sometimes violent, narratives of those margins. She then traces the obsession with the vanishing through a range of contemporary reconfigurations: efforts by remote communities to promote themselves as nostalgic sites of authenticity, storytelling practices as signs of premodern presence, mass travel campaigns, recallings of the dead by blind mediums, and itinerant, kabuki-inspired populist theater.