The Story of Art, Luxury Edition
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Exquisite cloth-bound edition of the classic art-history text – the perfect gift for every art connoisseur and student
For more than 60 years Ernst Gombrich's The Story of Art has been a global bestseller – with more than 8 million copies sold – the perfect introduction to art history, from the earliest cave paintings to art of the twentieth century, a masterpiece of clarity and personal insight. This classic book is currently in its 16th edition and has been translated into more than 30 languages, and published in numerous formats and editions. Now, for the first time, this Luxury Edition is the ultimate gift purchase for all art lovers – a perfect keepsake to treasure, and to inspire future generations.
about 1660. .\insterdam, Rijksmuseum artist before him had contrived to express so much of his own feelings and moods through their reflection in nature. If I have called this chapter 'The .\lirror of Nature', I did not only want to say that Dutch art had learned to reproduce nature as faithfully as a mirror. Neither art nor nature are ever as smooth and cold as a glass. Nature reflected in an always reflects the artist's own mind, his predilections, his enjoyments and therefore his moods. It
imagine when studying the various groups at our leisure. But we must realize that in actual life we can never take in all these scenes at once. In any given moment we can only focus one spot with our eyes— all the rest looks to us hke a jumble of disconnected forms. We may knozc what they are, but we do not see them. In this sense, Manet's hthograph of a race-course is really much more 'true' than that of the Victorian humorist. It transports us for an instant to the bustle and excitement of the
and Rome, Early Sixteenth Century 16. LIGHT AND COLOUR : Venice and Northern Italy in the Early Sixteenth Century 17. THE NEW LEARNING SPREADS: Germany and the Netherlands in the Early Sixteenth Century 18. A CRISIS OF ART: Europe, Later Sixteenth Century 19. VISION AND VISIONS: Catholic Europe, First Half of the Seventeenth Century 20. THE MIRROR OF NATURE: Holland in the Seventeenth Century 21. POWER AND GLORY: Italy, Later Seventeenth and Eighteenth Centuries 22. POWER AND glory:
worics of art whose expression is less obnous than Reni's. Just as some prefer people who use few words and gestures and leave something to be guessed, so some people are fond of paintings or sculptures which leave them something to guess and ponder about. In the more 'primitive' periods, when artists were not so skilled in representing human faces and human gestures as they are now, it is often all the more mo\iQg to see how they tried nevertheless to bring out the feeling they wanted to convey.
copperplate engra\-ing is a Httie different from the woodcut. In the woodcut you cut away everything except the lines 3-ou want to show. In the engra%"ing you take a special tool, called a burin, and press it into the copperplate. The line which you thus engrave into the surface of the metal will hold any colour or printer's ink you spread over the surface. What you do, therefore, is to cover your engraved copperplate with printer's ink and then to wipe the blank metal clean. If then you press