The first truly comprehensive analysis of the history, practice, and conservation of painting on canvas. Throughout its long history in Western art, canvas has played an influential role in the creative process. From the Renaissance development of oil painting on canvas to the present day—through Impressionism, Abstract Expressionism, and other art historical movements—the use of canvas has enhanced the scale of painting, freedom of brushwork, and spontaneity in technique. This book recounts some of that rich history in relation to corresponding developments in conservation practice. Rather than concentrating on the familiar concerns of cleaning and varnish removal, this volume considers the preservation of a painting’s structure. By focusing on recent studies on the fundamental nature of canvas and its mechanisms of deterioration, the book explains new approaches to the conservation of both contemporary and historical art—including reversible, passive, and preventive treatments, particularly with respect to lining. Written by Stephen Hackney, a conservation practitioner and leader in conservation research, On Canvas is the first book to take a comprehensive look at this important subject and is destined to become an invaluable resource for the field.

The 1876 events known as Custer’s Last Stand, Battle of Little Big Horn, or Battle of Greasy Grass have been represented over 1000 times in various artistic media, from paintings to sculpture to fast food giveaways. Norman Denzin shows how these representations demonstrate the changing perceptions—often racist—of Native America by the majority culture, juxtaposed against very different readings shown in works composed by Native American artists. Consisting of autobiographical reminiscences, historical description, artistic representations, staged readings, and snippets of documents, this multilayered performance ethnography examines questions of memory, race, and violence against Native America, as symbolized by the changing interpretations of General Custer and his final battle.

"A comprehensive and richly illustrated survey of Venetian Renaissance architecture, sculpture, and painting created between 1400 and 1600 addressed to students, travellers, and the general public. The works of art are analysed within Venice's cultural circumstances--political, economic, intellectual, and religious--and in terms of function, style, iconography, patronage, classical sources, gender, art theories, and artist's innovations, rivalries, and social status. The text has been divided into two parts--the fifteenth century and the sixteenth century--each part preceded by an introduction that recounts the history of Venice to 1500 and to 1600 respectively, including the city's founding, ideology, territorial expansion, social classes, governmental structure, economy, and religion. The twenty-six chapters have been organized to lead readers systematically through the major artistic developments within the three principal categories of art--governmental, ecclesiastic, and domestic--and have been arranged sequentially as follows: civic architecture and urbanism, churches, church decoration (ducal tombs and altarpieces), refectories and refectory decoration (section two only), confraternities (architecture and decoration), palaces, palace decoration (devotional works, portraits, secular painting, and halls of state), villas, and villa decoration. The conclusion offers an overview of the major types of Venetian art and architectural patronage and their funding sources"--Provided by publisher.

Express your creativity with 30 meticulously rendered black-and-white drawings of van Gogh masterpieces. Bring alive skillful adaptations of Sunflowers, Starry Night, Self-Portrait with Bandaged Ear and Pipe, The Church at Auvers, and many more. From great works of the Italian Renaissance to masterpieces from the Impressionist movement, the Dover Masterworks series offers more experienced colorists the opportunity to re-create some of the world's most famous paintings. The illustrations are printed on only one side of perforated pages, making it easy for artists to remove and display their finished pieces. The original paintings are included in full color on the inside covers for reference.

** Selected as a Book of the Year in The Times, Sunday Times and Observer ** 'Compulsively readable - the pages seem to turn themselves' John Carey, Sunday Times 'Brings one of the very greatest [artists] vividly to life' Literary Review Thomas Gainsborough (1727-88) lived as if electricity shot through his sinews and crackled at his finger ends. He was a gentle and empathetic family man, but had a shockingly loose, libidinous manner and a volatility that could lead him to slash his paintings. James Hamilton reveals the artist in his many contexts: the talented Suffolk lad, transported to the heights of fashion; the rake-on-the-make in London, learning his craft in the shadow of Hogarth; the society-portrait painter in Bath and London who earned huge sums by charming the right people into his studio. With fresh insights into original sources, Gainsborough: A Portrait transforms our understanding of this fascinating man, and enlightens the century that bore him.

The most authoritative publication in nearly fifty years on the subject of conserving paintings on canvas. In 2019, Yale University, with the support of the Getty Foundation, held an international conference, where nearly four hundred attendees from more than twenty countries gathered to discuss a vital topic: how best to conserve paintings on canvas. It was the first major symposium on the subject since 1974, when wax-resin and glue-paste lining reigned as the predominant conservation techniques. Over the past fifty years, such methods, which were often destructive to artworks, have become less widely used in favor of more minimalist approaches to intervention. More recent decades have witnessed the reevaluation of traditional practices as well as focused research supporting significant new methodologies, procedures, and synthetic materials for the care and conservation of paintings on fabric supports. Conserving Canvas compiles the proceedings of the conference, presenting a wide array of papers and posters that provide important global perspectives on the history, current state, and future needs of the field. Featuring an expansive glossary of terms that will be an invaluable resource for conservators, this publication promises to become a standard reference for the international conservation community. The free online edition of this open-access publication is available at getty.edu/publications/conserving-canvas. Also available are free PDF and EPUB downloads of the book.

This is the most thorough and detailed monograph on the artwork of Raymond Jonson. He is one of many artists of the first half of the twentieth-century who demonstrate the richness and diversity of an under-appreciated period in the history of American art. Visualizing the spiritual was one of the fundamental goals of early abstract painting in the years before and during World War I. Artists turned to alternative spirituality, the occult, and mysticism, believing that the pure use of line, shape, color, light and texture could convey spiritual insight. Jonson was steadfastly dedicated to this goal for most of his career and he always believed that modernist and abstract styles were the most effective and compelling means of achieving it.

A novel and female empowering interpretive approach to these artistic archetypes in her analysis of Imaging Women of Consequence in the Dutch Golden Age.

This book considers three defining movements driven from London and within the region that describe the experience of the Church of England in New England between 1686 and 1786. It explores the radical imperial political and religious change that occurred in Puritan New England following the late seventeenth-century introduction of a new charter for the Massachusetts Bay Colony, the Anglican Church in Boston and the public declaration of several Yale ‘apostates’ at the 1722 college commencement exercises. These events transformed the religious circumstances of New England and fuelled new attention and interest in London for the national church in early America. The political leadership, controversial ideas and forces in London and Boston during the run-up to and in the course of the War for Independence, was witnessed by and affected the Church of England in New England. The book appeals to students and researchers of English History, British Imperial History, Early American History and Religious History.