In 1925, the 22-year-old Kenneth Clark (1903–1983) and the legendary art critic and historian Bernard Berenson (1865–1959) met in Italy. From that moment, they began a correspondence that lasted until Berenson's death at age 94. This book makes available, for the first time, the complete correspondence between two of the most influential figures in the 20th-century art world, and gives a new and unique insight into their lives and motivations. The letters are arranged into ten chronological sections, each accompanied by biographical details and providing the context for the events and personalities referred to. They were both talented letter writers: informative, spontaneous, humorous, gossipy, and in their frequent letters they exchanged news and views about art and politics, friends and family life, collectors, connoisseurship, discoveries, books read and written, and travel. Berenson advised Clark on his blossoming career, warning against the museum and commercial art worlds while encouraging his promise as a writer and interpreter of the arts. Above all, these letters trace the development of a deep and intimate friendship.

Biografi om den franske billedhugger, der levede 1840-1917

Harold Nicolson was a man of extraordinary gifts. A renowned politician, historian, biographer, diarist, novelist, lecturer, journalist, broadcaster and gardener, his position in society and politics allowed him an insight into the most dramatic events of British, indeed world, history. Nicolson's personal life was no less dramatic. Married to Vita Sackville-West, one of the most famous writers of her day, their marriage survived, even prospered, despite their both being practising homosexuals. Unashamedly elitist, bound together by their literary, social, and intellectual pursuits, moving in the refined circles of the Bloomsbury group they viewed life from the rarified peaks of aristocratic haughtiness. Few men could boast such gifts as Nicolson possessed, yet he ended his life plagued by self-doubt. 'I am attempting nothing; therefore I cannot fail,' he once acknowledged. What went wrong? It was a question that haunted Nicolson throughout his adult life. Relying on a wealth of archival material, Norman Rose brilliantly disentangles fact from fiction, setting Nicolson's story of perceived failure against the wider perspective of his times.

Professor Slim deals here with the several roles that music can play in the artworks of the Renaissance, looking in particular at Italian painting of the 16th century. For understandable reasons, art historians sometimes neglect the role of music and, especially, that of musical notation when studying works of art. These studies not only identify musical compositions, wholly or partially inscribed in paintings - and tapestries, ceramics, prints as well - but also seek reasons why these particular musical compositions were included and analyse their relevance to the scene depicted. Furthermore, as many of these studies show, identifying a musical composition, especially if it has a text, leads to the formation of ideas about iconographical functions and thus augments interpretations of the visual art.

That there is a queeras opposed to merely homosexualhistory before Oscar Wilde will come as news to many in the sexuality studies field. Oscar Wilde Prefigured. It turns out that there is indeed a history of queerness, and that is originated in the early 18th century, coming to a head, as it were, by the end of the 19th. Dominic Janes draws on lots of new historical material, especially parodies and stereotypes in caricatures of sodomy and effeminacy. Front and center, then, are the 18th-century macaronies and mollies and men of feeling, the Regency dandies, and Victorian aesthetes. Visual display become a powerful historical tableau, generating a long history of queerness/homosexuality via caricatures of allegedly effeminate types. Images of effeminacy became a cultural field in which same-sex desire could be expressed. Wilde, then, was not the starting-point of public gay figures, but the endpoint. Wilde, in turn, is the pivot for connecting the Georgian figures to 20th-century stereotypes of camp (think Liberace), using images drawn from theater, fashion, and popular press to reveal new dimensions of identity politics and queer culture."

For a century the 'Burlington Magazine' has maintained a high reputation for authoritative writing on art history.

The proliferation of Virginia Woolfs in both high and popular culture, she argues, has transformed the writer into a "star" whose image and authority are persistently claimed or challenged in debates about art, politics, gender, the canon, class, feminism, and fashion."--BOOK JACKET.

This book, first published in 1988, draws together fourteen scholars from diverse disciplines to explicate the status of landscape as a cultural image.