Anniversary publication of the Belvedere The Belvedere in Vienna epitomizes the changes that have taken place over the course of three centuries in the concept of what constitutes a museum. Originally built by Prince Eugene of Savoy to enhance his prestige as a prince, under Maria Theresa, the Upper Belvedere became one of the world’s first public museums. The idea of presenting Austrian art in an international context, which in 1903 motivated the establishment of the Modern Gallery in the Lower Belvedere, remains the key objective of this world-famous cultural institution. In this critical homage, renowned authors explore enduring questions that transcend the different epochs, such as : What ordering concepts are evident in art presentation ? How contemporary were these presentations in an international context ? What kind of public were they aimed at ? Anniversary publication of the Österreichische Galerie Belvedere: a critical homage to a place of art with a diverse history spanning centuries Exhibition until January 7, 2024 With contributions from Johanna Aufreiter, Björn Blauensteiner, Brigitte Borchhardt-Birbaumer, Thomas DaCosta Kaufmann, Christiane Erharter, Nora Fischer, Anna Frasca-Rath, Antoinette Friedenthal, Martin Fritz, Thomas W. Gaehtgens, Sabine Grabner, Katinka Gratzer-Baumgärtner, Cäcilia Henrichs, Alice Hoppe-Harnoncourt, Christian Huemer, Georg Lechner, Stefan Lehner, Gernot Mayer, Monika Mayer, Sabine Plakolm-Forsthuber, Georg Plattner, Matthew Rampley, Luise Reitstätter, Stella Rollig, Claudia Slanar, Franz Smola, Nora Sternfeld, Silvia Tammaro, Wolfgang Ullrich, Leonhard Weidinger, Christian Witt-Dörring, Luisa Ziaja, and Christoph Zuschlag

In the eighteenth and early nineteenth centuries the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the museums’ collections and the role of the institutions in educating the public. The introductory chapters by art historian Carole Paul, the volume’s editor, lay out the relationship among the various museums and discuss their evolution from private noble and royal collections to public institutions. In concert, the accounts of the individual museums give a comprehensive overview, providing a basis for understanding how the collective emergence of public art museums is indicative of the cultural, social, and political shifts that mark the transformation from the early-modern to the modern world. The fourteen distinguished contributors to the book include Robert G. W. Anderson, former director of the British Museum in London; Paula Findlen, Ubaldo Pierotti Professor of Italian History at Stanford University; Thomas Gaehtgens, director of the Getty Research Institute; and Andrew McClellan, dean of academic affairs and professor of art history at Tufts University. Show more Show less

Describes points of interest in each section of the city, recommends restaurants and hotels, and includes information on shopping and entertainment

Rembrandt - Caravaggio highlights the two geniuses of baroque painting: Rembrandt, the pre-eminent artist of the Dutch Golden Age, and his Italian counterpart Michelangelo Merisi (also known as Il Caravaggio). Both artists are considered revolutionary innovators in Northern and Southern European art, respectively. With their origins in different painting traditions, each developed an original and striking visual language. The juxtaposition in pairs of paintings by the two artists intensifies the comparison of their work. Although they never met - Caravaggio (1571-1610) died four years after the birth of Rembrandt van Rijn (1606-1669) - many parallels can be drawn between the two master painters and their oeuvres. This is the first publication to comprehensively compare the works of Rembrandt with those of Caravaggio. Exploring the use of contrasting colors and chiaroscuro, both artists achieved unexpected realistic detail. Unsettling to their contemporaries, the realism of the works of Rembrandt and Caravaggio remains exceptionally compelling to this day. Both painters scrutinized humanity in their own way, amplifying the power and enigmatic qualities of major human themes, such as love, religion, sexuality and violence. Rembrandt and Caravaggio changed not only the course of painting, but also our perception of the world.

For a limited time, receive a free Fodor's Guide to Safe and Healthy Travel e-book with the purchase of this guidebook! Go to fodors.com for details. Written by locals, Fodor’s Essential Great Britain is the perfect guidebook for those looking for insider tips to make the most out their visit to England, Scotland, Wales and beyond. Complete with detailed maps and concise descriptions, this Great Britain travel guide will help you plan your trip with ease. Join Fodor’s in exploring some of the most exciting parts of Europe. Great Britain remains a perennial favorite with travelers who come for the busy streets of London, the cozy thatched-roof villages of the Cotswolds, and the wild moors and lochs of Scotland. From Edinburgh to Cardiff, discover worthwhile destinations and savvy travel tips with the full-color Fodor's Essential Great Britain. Our selective collection of the best of England, Scotland, and Wales will guarantee you make the most of your trip. Fodor’s Essential Great Britain includes: •UP-TO-DATE COVERAGE: Fully updated top attractions and experiences in every region of Great Britain from Scotland to England to Wales—from cities to great castles to stately homes to quaint country villages—with plenty of new options for dining, lodging, shopping, and nightlife. •ULTIMATE EXPERIENCES GUIDE: A spectacular color photo guide highlights the ultimate unmissable experiences and attractions throughout Great Britain to inspire you. •DETAILED MAPS: Full-color and full-size street maps throughout will help you plan efficiently and get around confidently. •GORGEOUS PHOTOS AND ILLUSTRATED FEATURES: Rich, full-color features invite you to experience the best of Great Britain. Colorful spotlight features on British food, Welsh castles, Roman relics, and more provide insight into contemporary life as well as the past. •ITINERARIES AND TOP RECOMMENDATIONS: Multiple sample itineraries to help you plan and make the most of your time. Includes tips on where to eat, stay, and shop as well as information about nightlife, sports and the outdoors. “Fodor’s Choice” designates our best picks in every category. •INDISPENSIBLE TRIP PLANNING TOOLS: Our Great Britain Planner offers transportation information and money-saving tips. Each city or regional chapter contains an orientation map that also highlights the top reasons to visit; a Planning section suggests best times to go and how to organize your trip within the region and get around. Throughout the guide, clear, easy-to-read maps show covered sights and key roads. •SPECIAL EVENTS COVERAGE: Every summer, the Edinburgh Festival draws lovers of music, theater, and comedy while Hogmanay is the most Scottish way to celebrate New Year’s Eve. •COVERS: London, Oxford, Cambridge, Bath, the Cotswolds, Stratford-upon-Avon, Manchester, Liverpool, Yorkshire, Wales, Cardiff, Edinburgh, Glasgow, Glencoe, Loch Lomond, Inverness, Loch Ness, Isle of Skye, and more. ABOUT FODOR'S AUTHORS: Each Fodor's Travel Guide is researched and written by local experts. Fodor’s has been offering expert advice for all tastes and budgets for over 80 years. Looking for more guides about Great Britain? Check out Fodor’s England, Fodor’s Scotland, and Fodor’s London.

Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.

For six centuries, Plato has held German philosophy in his grip. Brill’s Companion to German Platonism examines how German thinkers have interpreted Plato and how in turn he has decisively influenced their thought. Under the editorship of Alan Kim, this companion gathers the work of scholars from four continents, writing on figures from Cusanus and Leibniz to Husserl and Heidegger. Taken together, their contributions reveal a characteristic pattern of “transcendental” interpretations of the mind’s relation to the Platonic Forms. In addition, the volume examines the importance that the dialogue form itself has assumed since the nineteenth century, with essays on Schleiermacher, the Tübingen School, and Gadamer. Brill’s Companion to German Platonism presents both Plato and his German interpreters in a fascinating new light.

This fascinating study of art gallery interiors examines the changing ideals and practices of galleries in Europe and North America from the 18th to the late 20th century. It offers a detailed account of the different displays that have been created—the colors of the background walls, lighting, furnishings, the height and density of the art works on show—and it traces the different scientific, political and commercial influences that lay behind their development. Charlotte Klonk shows that scientists like Hermann von Helmholtz and Wilhelm Wundt advanced theories of perception that played a significant role in justifying new modes of exhibiting. Equally important for the changing modes of exhibition in art galleries was what Michael Baxandall has called “the period eye,” a way of seeing informed by the impact of new fashions in interior decoration and by department store and shop window displays. The history of museum interiors, she argues, should be appreciated as a revealing chapter in the broader history of experience.