French fashions from 1640–1775, depicted in 45 full-page black-and-white illustrations. Portraits of farmers, street vendors, and aristocrats, all with informative captions.

Baroque and Rococo Art and Architecture is the first in-depth history of one of the great periods of Western art, spanning the years 1585 to 1785. The text treats the major media-painting, sculpture, drawings, prints, and architecture-as well as gardens, furniture, tapestries, costume, jewelry, and ceramics, all in terms of their original function and patronage and with emphasis on the social, political and cultural context. Organized by country and medium, the book contains biographies of the leading creative figures of the time, from Caravaggio and Rembrandt to Watteau and Hogarth. Significantly, Professor Neuman offers the fullest account to date of women artists and the representation of women and families in art. Additionally, drawing from recent scholarship, the text explores such fields as Spanish polychrome sculpture and Viceregal American painting. Baroque and Rococo Art and Architecture reviews traditional and recent strategies for interpreting artworks. It also traces the dissemination of visual ideas through prints and drawings-the forerunners of today's art reproductions and digital media. In special sections the text raises questions regarding the nature of perception and how artists transfer optical data to the canvas. Artists' techniques, from painting and printmaking to sculpting in marble and casting in bronze, are explained. Analysis of the institutions of art, such as the royal academies, apprenticeship systems, and artists' exhibition rooms, complements an examination of collecting at all levels of society. The book is exceptional in considering issues related to authenticity and the relative value of artworks based on attribution. The illustrations comprise a visual resource of unprecedented quality, with some 450 images reproduced in full color and in a large format that ensures high detail and emphasizes recent conservation efforts. Finally, an extensive glossary introduces seventeenth- and eighteenth-century art terms.

Baroque and Rococo encompasses the German Empire as well as the Netherlands, England, France, Espin, and Italy. This highly expressive, almost effusive art epoch is explained to the reader by means of practical examples of painting, sculpture, and formal gardens that illustrate the new choice of motives that developed in the painting of the time.

Forty-five finely detailed, ready-to color illustrations depict an Italian peasant couple in wedding dress, children of a German royal family garbed in velvet, an English lord and lady in riding outfits, and more.

From its beginnings in the seventeenth century, the Baroque embraced the whole of Catholic Europe and infiltrated Protestant England, Orthodox Russia and even Muslim Turkey. Architecture, paintings, poetry, music, natural science and new forms of piety all have their places on the Baroque map. In this surprising reinterpretation of the Baroque, Robert Harbison offers new readings that stress its eccentric and tumultuous forms, in which a destablized sense of reality is often projected onto the viewer. This strange, subjectively inclined world is manifested in such bizarre phenomena as the small stuccoed universes of Giacomo Serpotta, the Sacred Mounts of Piedmont and the grimacing heads of F. X. Messerschmidt. Harbison explores the Baroque's metamorphoses into later styles, particularly the Rococo, and, in an unexpected twist, pursues the Baroque idea into the nineteenth and twentieth centuries, proposing provocative analyses of pastiches or imitations (in Der Rosenkavalier and the work of Aubrey Beardsley) or resemblances (deliberate or not) in Czech Cubism and Frank Gehry's architecture. Reflections on Baroque demonstrates that the Baroque impulse lives on in the twenty-first century imagination.

'[Beardsley's] vision is permanently that of a child lying in bed watching his mother dress for a dinner-party. His fantasy hangs this here, tries the effect of that there: everything is a jewel, and everything is a sexual organ. He is allured, yet afraid to touch: driven back on a cold minuteness of detailed attention, and yet passionately curious, with the emotional and involved curiosity children give to sex.' Brigid Brophy first published her study of 'the most intensely and electrically erotic artist in the world' in 1968, at the height of her own powers and in the moment of a notable revival of interest - both scholarly and pop-cultural (amid 'the dandified realm of Carnavy Street') - in Beardsley's work. An infant prodigy, Beardsley retained through the brief years of his adult life the peculiar genius of a precocious child, and Brophy, well-versed in Freudian analyses, adroitly points out the polymorphous perversity of his pictures - that perversity, coupled with his inimitable graphic/monochromatic signature, accounting for why Beardsley, however 'high-baroque rococo' his style, has remained endlessly modern. Black and White is illustrated by 44 reproductions and augmented by a detailed chronology.

Deriving from the French word rocaille, in reference to the curved forms of shellfish, and the Italian barocco, the French created the term ‘Rococo’. Appearing at the beginning of the 18th century, it rapidly spread to the whole of Europe. Extravagant and light, Rococo responded perfectly to the spontaneity of the aristocracy of the time. In many aspects, this art was linked to its predecessor, Baroque, and it is thus also referred to as late Baroque style. While artists such as Tiepolo, Boucher and Reynolds carried the style to its apogee, the movement was often condemned for its superficiality. In the second half of the 18th century, Rococo began its decline. At the end of the century, facing the advent of Neoclassicism, it was plunged into obscurity. It had to wait nearly a century before art historians could restore it to the radiance of its golden age, which is rediscovered in this work by Klaus H. Carl and Victoria Charles.

This volume of the History of Fashion Coloring Book retraces the emblematic fashions of the18th Century French Court during the reign of Marie-Antoinette, the most renowned Queen of France's Bourbon dynasty. It features more than twenty illustrations of gowns from the Royal wardrobe, fantasy décors and ornamental motifs. This coloring book invites artists of all ages to decorate some of the most famous fashions in the history of France.

Fifteen centuries of Spanish fashion, from the era of the Roman Empire through the rise of the Renaissance, appear in the accurate and meticulously rendered drawings of this coloring book. Its focus resides with the Arabic influences introduced by the Moors, who arrived in Spain in the eighth century and developed a thriving culture until they were driven out in 1492 during the reign of Ferdinand and Isabella.

This is a must-have for coloring book fans, costume designers, and cultural historians. This coloring book takes you on a journey through one of the most interesting historical fashion periods. Filled with stunning vintage dresses, each page features decadent style fusing timelessness and elegance. See elaborate hats, dresses of grandeur and intricate embellishment.