f\ IV PHAIDON Boston, MA 02116 THE ART BOOK Phaidon Press Limited Wharf Regent's All Saints Street London ni 9PA published 1994 First Reprinted 1995, 1996 This edition 1996 © 1994 Phaidon Press Limited ISBN o 7148 3625 7 OP A catalogue record for book this is available from the British Library. Library of Congress Cataloging Data Publication in available. All rights reserved. of this publication reproduced, stored No part may be in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of Phaidon Press Limited. Printed in Singapore abbreviations: C=circa b=born h I ii< d=died ...In W width = length diam diameter The publishers have <>rt made to include dimensions wherever possible. As some frescos illustrated are part of large cycles, covering entire rooms, 1 he correct measure- ments have been impossible and are therefore to acquire omitted. 1 THE ART BOOK of looking fun, it's an at art. A to presents a whole Easy to Z new way and use, informative guide of 500 great painters and sculptors from medieval to modern times. It debunks art-historical classifications by throwing together brilliant examples of all periods, schools, visions and techniques. Only here could Michelangelo be considered with Millais, Picasso with Piero della Francesca and Rodchenko with Rodin. Each artist is represented by a full-page colour plate of a typical work, accompanied by explanatory and illuminating information on each image and its creator. The entries are comprehensively cross-referenced and glossaries of artistic movements and technical terms are included, together with an international directory of galleries and museums to visit. By breaking with traditional classifications, THE ART BOOK presents a fresh and original approach to art: an unparalleled visual sourcebook and a celebration of our rich and multi-faceted culture. The 500 artists page 4 Glossary of technical terms 1 Glossary of artistic movements u pagt Directory of museums and galleries page 1 1 Agasse Jacques-Laurent A by giraffe leans its long, slender its Arab keepers. Two The Nubian neck to reach the bowl held Egyptian cows can be seen in the background. With the development of communication links, traders of the travel farther and farther exotic gifts. early nineteenth century afield Giraffes, lions were able to and return with increasingly and leopards were given to wealthy landowners and Agasse, being renowned for his acute attention to detail, was often commissioned them. King George IV paid Agasse £200 for 'a Giraffe the Gii.uTc ind Keepers'. top hat is Edward The gentleman depicted wearing a Cross, a well-known importer of foreign birds and animals for the royal menagerie. Born Switzerland, Agasse lived in England from He also painted a number of portraits of noblemen on horseback. «- Audubon, Landseer, Longhi, Stubbs Jacques-Laurent Agasse. b Geneva, 1767. d London. 1848 The Nubian Giraffe. 1827. Oil on canvas. hl27 x wl01.5 cm. in 800 where he achieved considerable success painting sporting scenes and exotic animals. to paint picture of 1 h50kxw40i The Royal Collection, Windsor Castle. Windsor Alb ers Homage josct Four squares of yellow nest together. Despite to the Square Post-Painterly Abstraction a rigid movement. Between 1920 and format, thev float freely, creating an optical illusion of 1923 Albers studied at the famous Bauhaus school. another dimension. Hach area has been painted in a single joined the staff in 1923. colour. The of which colour. is this The is series of paintings, optical illusion created in this picture related to the Op means it Art movement. Yet the way the paint Josef Albers. b Bottrup. 1888. d New Haven. CT. it to the USA in 1933, book The published in 1963. In he explores the perception of colour, which was a w76.2 cm. h30 x w30 in. Tate Gallery. London this Interaction of Color dominant theme throughout Andre. Van Doesburg. 1976 to the Square. 1964. Oil on panel. h76.2 / Mountain College and Yak University. His influential «" with the He by birth, Albers where he taught many established artists at the Black one, shows squares created from pure has been applied and the use of colour link Homage moved paint has been applied with a knife, direcdy from the tube. Albers' most famous A Dutchman Kelly. Klee. Reinhardt, Vasarely his was life. \lessandro AlgardiMess The tell a distinguished individual. of and cardinal's fine robes, lace cuffs moustache and beard life that shows Bust of Cardinal Paolo Emilio Zacchia distinctive The marble portrait has a spark As was customary at the time, originally sculpted this bust in terracotta. as a study before making a final version in the Baroque period, AJgardi's Style is artist Bernini. This approach of his of more reserved than contemporary Gianlorenzo may be because he trained in Rome. One of the century's foremost Italian sculptors, Algardi commissioned Rome, to including the tomb of Leo XI (•- Bacon, Bernini, Carracci, in. Museo Nazionale while in in St Peter's bronze statue of Innocent X. h47% was make many important works Houdon, Manzu Alessandro Algardi. b Bologna, 1595. d Rome, 1654 Bust of Cardinal Paolo Emilio Zacchia. C1625/30. Marble. hl21 cm. Bologna under the painter Lodovico Carracci (the cousin of Annibale) before embarking on a career in Algardi This would have more expensive medium of marble. Although an the is Algardi's close observation of the cardinal's features. been used the tL'-r.'^ovant the viewer immediately that this del Bargello, Florence and a 1 AllStOn A Landscape with Washington much admired path with a figure by a lake leads the viewer into a stark landscape that has a haunting sense of" emptiness. The plants in the foreground, the trees and gnarled trunks are carefully rendered in great detail. Allston North America's Romantic the natural studied in wonders of the London ''where Benjamin West) and Rome. His were directly inspired all painters. His landscapes glorify New World. As a young man he his Lake England at the time. landscape in the manner of Allston's portraits him | M W Turner and and canvases on scriptural great acclaim, while the poetry he wrote artist Claude, who was on canvas. H96.5 x W130.2 cm. h38 x less enthusiastically received. Bierstadt. Claude. Cozens. Hodler. Martin. West. Turner w51 ; /4 Museum of Fine Arts. Boston. MA won was somewhat compatriot Washington Allston. b Charleston. SC. 1779. d Cambridge. MA. 1843 Oil |ohn Martin. themes early landscape paintings by the French Landscape with a Lake. 1804. However, he soon developed a more sublime, melodramatic conception of the was the greatest of he was a pupil of in a Alma-Tadema Three Roman women watch the return of galleys corner, or 'coign'. This charming work conveys from a both a sense of height and of warm sunlight. The fabric of the women's clothes, the marble ledge rendered in great detail. and the bronze beast are In the handling of the the sea far below, the artist complicated perspective. England in 1 870, shows A Dutch painter Alma-Tadema had with Sir Hi.-. Neo-Classical portrayals of ancient Greek and Egyptian society. They also to a successful career Henry of Vantage. 1895. Oil on canvas. h64.2 x w45 showed in the artist's On knowledge of several occasions of Coriolanus London. <•" Carpaccio. Leighton, Poussin, cm. h25V4 x wl7 3/i in. Private collection Alma- for theatre designs, in particular and in his Roman, were highly popular with Victorian Irving's 1901 production Lyceum Theatre Lawrence Alma-Tadema. b Drontyp, 1836. d Wiesbaden, 1912 A Coign life Tadema was commissioned Sir who moved was lavished with personal and professional honours lifetime. Coign of Vantage archaeology and social history. all women and his great skill A Lawrence Sir Waterhouse at the Altdorfer \ Mbrecht sweeping Alpine landscape dominates scene. The grand view emphasizes the importance of the battle that has just occurred, without focusing on one of the the first artists to focus most important clement on it directly. Altdorfer the landscape, in the picture. dangles high above Alexander the Great A battle itself is shown a victory in vivid detail, Oil making it It tells a at h He was a prominent citizen and popular architect home town of Regensburg. Altdorfer is known to master. in his have taken mm, a tour of the Danube and the Austrian Alps produced his inclination a large towards the landscape. number of drawings and of them depicting pure landscape, without the over Darius. The of which Altdorfer was •* Dossi. Durer. Leonardo. Patenier. Uccello 1538 on panel. hl32.7 x wl20 cm. h52V4 x in and the scenery he encountered there no doubt confirmed horse-drawn Albrecht Altdorfer. b Regensburg. cl480. d Regensburg. Battle of Alexander at Issus. 1529. was large panel in his chariot to the centre-left of the composition. viewer that Alexander has gained Alexander Battle of a battle w47& in. Alte Pinakothek. Munich He engravings, a story. many Amigonijacopo Juno Receives the Head of Argus Juno, the wife of Zeus, asked the hundred-eyed giant Argus u) watch over lo, whom she righdy suspected of being her husband's lover. Argus was murdered at Zeus' Mercury, [uno set the giant's eyes into the tail peacock memory. The in his receiving the head of Argus. picture here The command by of her shows Juno soft, sensual style, light colours and graceful lines of the painting are typically Rococo. Amigoni was of portraits and of a fashionable artists, It he worked all over Europe, particularly was probably he who, upon returning highly profitable trip to travel to England many Rococo Oil to England he painted decorations for Covent Garden and Moor Park. Thereafter he lived comfortablv bv painting elegant portraits of the royal family and of nobility. •- Boucher. Fragonard. Gentileschi. Luini. Tiepolo Jacopo Amigoni b Venice. cl685. d Madrid. 1752 Juno Receives the Head of Argus. C1730. England. London, persuaded Canaletto in 1746. In and successful painter historical scenes. Like in to Venice after a on canvas. h396.2 x w304.8 cm. hl56 x wl20 in. Moor Park. Rickmansworth Andre Thirty-six industrially magnesium and floor. Zinc Magnesium Plain Carl produced square bound together in on the any way; each can Nor be picked up and interchanged with another. up to create a vertical structure; they simply ground. They do not stand upright in space the floor to be trodden Carl Andre, b Quincy. Magnesium on and walked over. are they sit on the like traditional sculpture; they are not crying out to be seen, but Zinc flat Contrary to the traditional concept of sculpture, these separate parts are not built influenced by the of pure plates zinc have been alternately placed ( merge with )riginally work of Frank Stella Brancusi, from i960 to 1964 Andre and Constantin worked on the Pennsylvania Railway which involved using standardized, interchangeable units. From the mid-1960s he assembled groups of bricks, styrofoam planks and cement blocks, extending them horizontally on the floor. The configurations of these identical shapes are determined by simple mathematical pnnciples. «- Albers. Brancusi. Judd, LeWitt. Long. Serra. Stella MA. 1935 Plain. 1969. Zinc and magnesium. H182.9 x W182.9 cm. h72 x w72 in. Baltimore Museum of Art. Baltimore. MD Andrea I U.i\ Mary ascends the Virgin angels. peers into no longer donor and of at Assumption of the Virgin Above, group of to check that her body for which the altarpiece in its rigid is is was typical of del Sarto b Florence. 1486. d Florence. of the Virgin. cl526. Oil To create an altarpiece like this, he in his studies of each figure. time as 'the perfect painter', Andrea del Sarto studied under Piero di Cosimo and produced many He has been described as a cold, important frescos. unimaginative painter, but few sixteenth-century •" Fra Bartolommeo. Murillo. Perugino. Piero di 1530 on panel. h379 x artists achieved his harmonious use of colour or his technical composition. Florentine were generally superb draughtsmen, and Andrea del on Sarto was no exception. would probably have made many Known the event, as St of the scene. The painting High Renaissance artists parts. Nicholas and Margaret, patrons of town the in front two into heaven, helped by a Man's grave there. Saints made, kneel the this picture into Below, the \postles marvel Thomas the del Sarto en and earth divide w222 cm. hl49 x w87'/6 in. Palazzo Pitti, Florence Cosimo skill. Fra Angelico The Archangel Gabriel to give birth to the tells the Virgin The Annunciation Mary that six simplified forms simplicity arc the outstanding features of this painting. kneels and hows her head message. The fresco is as she humbly accepts painted on a cell a Dominican monk in 1407.) On the Florentine Gabriel's the Martyr prays as he watches the scene; he a friar. left, is di Pietro). b Vicchio di doing. Fra Angelico's powerful and his sensitive treatment (He visionary, St Peter art. A light and in celebrated religious painter in his lifetime, harmonious paintings on many Christian themes. He died while painting a private chapel at the Vatican. •" Martini. Piero della Francesca. Tintoretto included in Mugello. cl387. d of he earned the nickname Angelico ('Angelic') from his the picture to encourage the viewer to contemplate the Fra Angelico (Guido is and colour arc indicative of the recent developments Mary wall in the monasten of San Marco where Angelico was became Annunciation as he is Son of God. Calmness, order and Rome. 1455 The Annunciation. C1441-3. Fresco. hl87 x v»157 cm. h73'/ix w61'/6 in. Museo di San Marco, Florence Anguissokso The artist woman: Self-portrait Que.n of Spain has portrayed herself as an honest and devout she looks at us with a frank gaze as she fingers the cross around her neck. Anguissola in fonisba Genoa and Palermo - an in the sixteenth century. ( three-year apprenticeship Duke of Alba in )f was a leading portraitist extraordinary feat for a noble birth, Anguissola began when time'. woman she was quite young. a The Spain drew her to the attention of the said of Anguissola excellent painter of portraits, that she all was of her family. All of these have tenderness, as well as life the a direct a special approach. Towards the end of young Anthony van Dyck became her and painted her likeness as an old woman. Spanish Court, and she went on to become Court painter and lady-in-waiting to the Spanish Queen. A letter from the •* Van Dyck, Ramsay, Sittow. Verrocchio, Vigee-Lebrun Sofonisba Anguissola. b Cremona, cl532. d Palermo, 1625 Self-portrait. cl600. Oil on canvas. h22 x wl7 cm. h8% x w6% i 'an the painters of this Anguissola painted numerous self-portraits and portraits her above Private collection friend, Antonello da Messina Stealing a look through the open window of St [erome's study, the viewer sees the saint absorbed in his reading. the lion on Only the nght pauses in his tracks to acknowledge the outside world. It is possible that Antonello was influenced by aspects of Netherlandish painting; details such as the objects on the shelves, the tiled floor, the birds perched on the windowsill and the qualm of the light arc reminiscent of the intense realism of paintings by Robert F.vck. There is no proof that in his Antonello ever Study. C1475-6. Oil Jerome in his Study have been familiar with the techniques of the to Netherlandish masters. Several authorities believe he was taught oil himself, likely, painting techniques by the master and then brought the 'secret' Antonello was influenced by Flemish In 1475-6 he was greatly influenced in Van method left Italy, but he •~ Giovanni Bellini, h46xw36.5cm. hl8xwl4^ in. More Milan. Venice, where his innovative technique Giovanni Bellini. Campin. Van Eyck, Patenier. Reni 1479 on panel. I'.vck to Italy. artists in Campin and Jan van Antonello da Messina. Active 1456. d Messina. Saint Jerome seems Saint National Gallery. London Appel k Phantom with Mask Karel The central figure fixes his eyes The with a demonic expression. characteristic force in thick, harsh and brutal image a childlike quality. a liberating, — Appel movement, which was formed and teeth on the viewer paint is the abstraction of post-war sweeping strokes, creating a but there is also humour, and finds the very act almost sensual experience. He it representative example of the Karel Appel. b Amsterdam. Phantom with Mask. 1952. Oil on canvas. hll6 lifeless European and too passive. Instead, paintings and mythological tales for now The painting artists is lives in New York, where painting, considering turned to children's it of applying paint work of the Cobra 1921 1948 by a group of delights in combining raw energv, expressed through slashes of wild colour, with savage, challenging subjects. in from Copenhagen, Brussels and Amsterdam. Cobra rejected applied with its inspiration. Appel he continues to paint exuberant, representative images in dazzlingly lurid colours. a W Baselitz, Dubuffet, De Kooning, Pollock Archipenko At first closer, Alexander Walki rig glance this sculpture seems to be abstract. Looking it is possible to see a walking made out of bronze with a woman, who has been green surface. Archipenko created the figure by using gaps and by hollowing out sections. Her head, for example, created by the bronze around work in the history it. is made from This is of Western sculpture concepts of construction, representing from the Classical tradition. Alexander Archipenko. b Kiev. the space possibly the first to introduce such a radical 1887. d New in. York, NY. movement, which challenged and redefined traditional approach to portraying the human form. His use of holes and spaces to create a new way of looking human figure paralleled the Cubists' the subject, portraying a 1964 Private collection the at the method of fragmenting number of views of the same object simultaneously. Archipenko developed his sculptural techniques further by mixing together different materials. departure Archipenko was associated with Walking. 1912. Bronze. h67.3 cm. h26V; the Cubist •* Braque. Giacomettl. Lipchitz. Picasso Arcimboldo Giuseppe Up close, this painting looks like a greengrocer's Moving away from It has been summer - made human head the picture, a entirely of the fruits found. While he often used his portraits, fruits Arcimboldo was and vegetables of and vegetables also known and even workmen's tools to create his in Prague, a series all be to create to use pots, pans most important works were painted was employed by emerges. and plums can pears, peaches, cherries Summer dream. weird images. His where he of Hapsburg emperors. ArcimboJdQ had other courtly duties besides as designing decorations for festivities, Emperor's collection and, strangely enough, art for the designing and constructing waterworks. Arcimboldo's paintings were looked Oil on canvas. h76 x w63.5 cm. h30 x w25 recognized Musee du a fellow artist as slighdy It who became popular. •"Dali. De i upon were imitated often enough. Heem. Koons. Giuseppe Arcimboldo. b Milan. 1527. d Milan. 1593 Summer. 1573. painting, such purchasing works of Louvre, Paris Magritte was not silly, although thev until the Surrealists loved visual puns that he Arp Leaves and Navels, Small circular forms punctuate the shadows of their the white painted shapes in relief stillness wood background. They harmonious pattern with no fluttering of leaves drops of rain falling in the on of this distinguishing logical order, work, the them from arc arranged in a Arp's work characterized bv is art their riotous forms, which arc highly poetic and suggestive in their writing. He was W intimately involved with several of the first half of the twentieth and infamous 'happenings' wrote poetry, created collages, made the one delicacy. the Dada movement. The Zurich shown here) wood Cornell, Hepworth, Mondrian. Schwitters Kj ^ u s- w - w. : Arp. b Strasbourg, 1886. d Basle, Navels, I. 1966 1930. Painted wood. hlOl x many the Cabaret w81 cm. h39& x w31% in. Museum of Modern reliefs (such as and experimented with automatic ^ w. at Voltaire. In his quest for a spontaneous, elementary art he ust of sensuous sculptural shapes recalling organic its movements of Dadaists were formed in 1916 and Arp participated in of evoking the wind or the natural randomness of glass. major century, particularly the I Art, New York, NY Audubon From its odd, spoon-shaped feather, this bird has Audubon's John James bill Roseate Spoonbill the splendidly illustrated included 435 plates. book Audubon Audubon had care. desire to classify the birds he observed in America, coupled with careful though the book on birds concentrated on North America, to each fantastic pink been depicted with immense North scientific research, resulted in Birds of America which scientific alongside the famous French Neo-Classicist Jacques-Louis David. He coupled his skills as a painter with a passion for ornithology to create a practical use for his training. John James Audubon, b Les Cayes. Haiti. 1785. d New Even York, NY, it and remains both which a Agasse. He in America and spent the last seven years of his companion volume, The Qnadmpeds illustrative skills knowledge. Catlin, J-L David, Stubbs 1851 Roseate Spoonbill. 1835-8. Engraving on paper. h64.7 x w95.2 cm. h25Vi x w37M in. Britain, work of art and an important combines exquisite also naturalistic •* was published a beautiful document. compiling trained to be a painter to travel to Britain to find funding for his work. Ultimately From The Birds of America. 1835-8, Vol 4 life of America, with Auerbach The Frank surface of this picture, which artist's is and gullies. Auerbach is of one of the newspapers compressed regular sitters, looks like wet into ridges J a portrait well known YM Seated in the Studio VI paint in a different way to the others in this loose grouping of artists. He adds thick layers technique. Brushfuls of paint are dragged in violent swirls and the surface. Auerbach across the picture surface, creating arms and eyes, legs and discipline, regularly cheeks. These are not restful, comfortable works to look at; instead they invite the viewer into a world of squashy movement, Auerbach is as thick a and sensuous Y Oil known to till work with great night, even- day. His studio has remained unchanged since 1954, from inherited it «- Bacon, Kitaj. his friend but uses Leon KossorT. De Kooning, Kossoff, Sutherland 1931 M Seated in the Studio VI is from morning peanut butter. member of the School of London, Frank Auerbach. b Berlin, J as and then scrapes them back, creating the subject through his manipulation of the paint tor his on canvas. h55.9 x w50.8 cm. h22 x w20 in. Private collection when he Avercamp Hen<Mck An a enure town frozen lake. skies of of the lower (It is a The of people seems to be enjoying such as the The attention to detail in woman brings the scene to said that A itself on picture wonderfully evokes the chilly northern winter. figures, left, full Avercamp was life, giving it hence a Town specializing in small-scale easel paintings for the many with her red sash at the deaf, Scene on the Ice Near patronage because of Protestant reform. This led to painters a joyful feeling. his acute visual new market of private collectors. Avercamp was well known for his wintery scenes, which are similar in style to those of Jan Bruegel, and his careful observation of lighting effects his paintings highly prized. He was also made one of the sense and the almost anecdotal quality of his minutely originators of realist landscape painnng in seventeenth- detailed paintings.) Seventeenth-century Holland witnessed centurv Holland. a rise in the middle classes and a decline in •" church J Bruegel. Cuyp. Van Goyen. Lowry. Raeburn. Ruisdael Hendrick Avercamp b Amsterdam. 1585. d Amsterdam. 1634 A Scene on the Ice Near a Town. cl615. Oil on panel. h58 x w90 cm. H22 /- x w35i6 in. National Gallery. London