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Tapestry in the Baroque: Threads of Splendor

Tapestry in the Baroque: Threads of Splendor

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Description

Edited by Thomas P. Campbell, with contributions by Pascal-François Bertrand, Charissa Bremer-David, Koenraad Brosens, Thomas P. Campbell, Guy Delmarcel, Isabelle Denis, James Harper, Wendy Hefford, Lucia Meoni, Jeri Bapasola, Elizabeth Cleland, Nello Forti Grazzini, Ebeltje Hartkamp-Jonxis, Concha Herrero Carretero, Florian Knothe, Katja Schmitz-von Ledebur, Hillie Smit, and Jean Vittet

This lavishly illustrated volume is the first comprehensive survey of seventeenth- century European tapestry. From the Middle Ages until the late eighteenth century, European courts expended vast sums on tapestries, which were made with precious materials after designs by the leading artists of the day. Yet, this spectacular medium is still often presented as a decorative art of lesser importance. This volume challenges this notion, demonstrating that tapestry remained among the most prestigious figurative mediums throughout the seventeenth and early eighteenth centuries, prized by the rich for its artistry and as a propaganda tool. This book features 45 of the finest surviving examples from collections in more than 15 countries, as well as a number of related designs and oil sketches. Through these, this book examines the stylistic developments of tapestry between 1590 and 1720, when such masters as Peter Paul Rubens, Jacob Jordaens, Simon Vouet, Charles Le Brun, Pietro da Cortona, and Giovanni Romanelli responded to the challenges and opportunities of the medium in the context of contemporary artistic developments.

604 pages, 350 illustrations (200 in full color). 9 7/8'' x 12''. Hardcover.

  • 604 pages
  • 350 illustrations (200 in full color)
  • 9 7/8'' x 12''
  • HardcoverPaper

Editorial Reviews

“This is a beautifully produced glossy volume…particularly valuable source of information and an inspirational tool which is more than fit to take its place on any serious tapestry researcher’s (or indeed, social, cultural, or art historian’s bookshelf.”
      —The Art Newspaper




Description

Edited by Thomas P. Campbell, with contributions by Pascal-François Bertrand, Charissa Bremer-David, Koenraad Brosens, Thomas P. Campbell, Guy Delmarcel, Isabelle Denis, James Harper, Wendy Hefford, Lucia Meoni, Jeri Bapasola, Elizabeth Cleland, Nello Forti Grazzini, Ebeltje Hartkamp-Jonxis, Concha Herrero Carretero, Florian Knothe, Katja Schmitz-von Ledebur, Hillie Smit, and Jean Vittet

This lavishly illustrated volume is the first comprehensive survey of seventeenth- century European tapestry. From the Middle Ages until the late eighteenth century, European courts expended vast sums on tapestries, which were made with precious materials after designs by the leading artists of the day. Yet, this spectacular medium is still often presented as a decorative art of lesser importance. This volume challenges this notion, demonstrating that tapestry remained among the most prestigious figurative mediums throughout the seventeenth and early eighteenth centuries, prized by the rich for its artistry and as a propaganda tool. This book features 45 of the finest surviving examples from collections in more than 15 countries, as well as a number of related designs and oil sketches. Through these, this book examines the stylistic developments of tapestry between 1590 and 1720, when such masters as Peter Paul Rubens, Jacob Jordaens, Simon Vouet, Charles Le Brun, Pietro da Cortona, and Giovanni Romanelli responded to the challenges and opportunities of the medium in the context of contemporary artistic developments.

604 pages, 350 illustrations (200 in full color). 9 7/8'' x 12''. Hardcover.





  • 604 pages
  • 350 illustrations (200 in full color)
  • 9 7/8'' x 12''
  • HardcoverPaper




Editorial Reviews

“This is a beautifully produced glossy volume…particularly valuable source of information and an inspirational tool which is more than fit to take its place on any serious tapestry researcher’s (or indeed, social, cultural, or art historian’s bookshelf.”
      —The Art Newspaper



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