art history

Bernard Berenson (1865-1959), the well-known art historian and author of classic texts on Renaissance art including Paintings of the Florentine Renaissance, also had an early interest in Asian and Islamic art.

The Hermitage Museum in St. Petersburg, Russia, has an important collection of Greco-Bactrian and Bactrian gold and silver vessels, many of which were likely in the Siberian collection of Tsar Peter the Great (1672-1725). In 1940, Kamilla Trever (1892-1974), a curator at the Hermitage and a Russian historian specializing in the history and culture of Transcaucasia, Central Asia, and Iran, published this important but obscure Russian-language work on the collection.

Ornamental Textile Fabrics of All Ages and Nations: A Practical Collection of Specimens features specimens from Auguste Dupont-Auberville's collection of ornamental textile designs. The samples, reproduced as simple chromolithographs, serve as a showcase of European, Eastern, and Egyptian design elements used in textile production throughout history.

Sirarpie Der Nersessian (1896-1989) was an Armenian art historian. Born in Istanbul, she fled in 1915 to escape the persecutions that had erupted against Armenians in the Ottoman Empire. She lived for a time in Switzerland, then moved to Paris in 1919, where she obtained a graduate degree at the Sorbonne. By the mid-20th century, she was living in Washington D.C., working as a scholar at Dumbarton Oaks. In 1963, she published a book on the Freer Gallery of Art’s Armenian Gospel manuscript folios.

Who doesn’t love a little sparkle? You’ll find plenty in this gorgeous book. Along with histories of important jewelers from the late-19th through the 20th centuries, it features photographs of masterworks created by these artists and craftspeople. The book also highlights a number of specific jewelry styles, such as Art Nouveau by Lalique and Egyptian revival by Cartier. Other jewelers presented in the book include Tiffany, Van Cleef & Arpels, Fabergé, and Bulgari—with illustrations of their dazzling pieces crafted from gold, silver, platinum, gems, pearls, and enamel.

Published in 1989 by Trio, Secrets of Ancient Gold is a translation of Christiane Eluère’s Secrets de l’or Antique. Rich in color and black-and-white photographs and illustrations, Secrets is an accessible introduction which delves into the history of art created in gold, the artists who worked with it, and the methods they used. A French historian specializing in Celtic metalwork, Eluère currently works for the Museum of National Antiquities in Saint-Germain-en-Laye.

Clocks and watches serve a practical function, yet they can also be incredible works of art. This stunning book features some of the finest timepieces ever created, spanning the 15th century to the present. Austrian photographer Johann Willsberger visited major museums and private collections around the world to capture the best examples from primarily French, German, Austrian, Swiss, English, and American makers. Alongside the beautiful photographs, Willsberger includes thought-provoking quotations and sayings about timepieces and about time itself.

Whether romantic farces in black-and-white or western epics in Technicolor, movies from Hollywood's golden age were introduced to the world by entrancing posters. The Lost Artwork of Hollywood is a tribute to the illustrators and artists who created posters and other promotional materials to spark the imagination of the public. Focusing on movies of the 1920s, 30s, and 40s, the book contains over 100 images from film promotional materials, many of them full-page reproductions.

David Rickard gives gold’s poor relation the royal treatment in this scholarly work on the mineral pyrite. Rickard presents both the social uses of pyrite—from historical accounts—and the scientific nature of the mineral. Whether a scientist is researching the history of an older piece of metalwork or the chemical properties of the raw material, Rickard’s work is useful for the scholar and layman alike. This nicely illustrated book is from the Minerals Library at the National Museum of Natural History.

One of the best-known artists of the 20th century, Pablo Picasso was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet, and playwright who spent most of his adult life in France. Picasso is often remembered for his cubist paintings, but he continued to experiment with new styles and materials throughout his life. During the 1950s and 1960s, Picasso commissioned Francois Hugo, great-grandson of French writer Victor Hugo, to execute a series of plates, dishes, and medallions in gold and silver. The plates were modeled after Picasso’s original ceramics designs.

Georges Braque was a major 20th-century French painter, sculptor, draughtsman, and printmaker. At the age of 79, Braque turned his attention to jewelry. He teamed up with master jeweler Baron Heger de Löwenfeld to turn 110 gouache maquettes into intricately textured gold sculptures inlaid with precious stones. The collection, inspired by Greek mythology, incorporates themes of flight and metamorphosis. The two artists worked so closely together that Braque referred to De Löwenfeld as the “continuation of my hand.”

Liza Lou, an American artist and winner of a 2002 MacArthur Foundation Fellowship, is known for her large-scale sculptures and environments made from glass beads. Lou’s brightly colored sculptures create tension between the sparkling beauty of their surfaces and their frequently dark themes, suggesting that America’s polished, projected image belies the nation’s underlying turmoil.

The works of Lucas Samaras can be understood through one unifying principle: the artist’s “natural instinct for subversion.” Rather than springing from an urge to rebel, however, Samaras’ originality and nonconformity are centered in treating art as a mutable subject. Samaras spent two years crafting gold jewelry, modeling them first in chicken wire, then casting them in solid 22-karat gold.

The “objects” of American artist Man Ray’s affection were small, limited-edition sculptures.

Joseph H. Hirshhorn, founding donor of the Smithsonian Institution’s Hirshhorn Museum and Sculpture Garden, was an avid collector and supporter of Picasso. The two became friends after being introduced by photographer Edward Steichen. The Hirshorn Library’s copy of Picasso, by art critic Jean Cassou, is inscribed in ink by Picasso on the half-title, “Pour Joe Hirshhorn, son ami Picasso, le 25-7-69,” and includes a full-page original Picasso sketch of a bearded man with curly hair and a wavy hat.

Joseph H. Hirshhorn, founding donor of the Smithsonian Institution’s Hirshhorn Museum and Sculpture Garden, was an avid collector and supporter of Picasso. The two became friends after being introduced by photographer Edward Steichen. The original dark purple cloth publisher's binding of this monograph is embossed with a gold gilt facsimile of Picasso’s signature.

Joseph H. Hirshhorn, founding donor of the Smithsonian Institution’s Hirshhorn Museum and Sculpture Garden, was an avid collector and supporter of Pablo Picasso. The two became friends after being introduced by photographer Edward Steichen.

The late-16th century was the golden age of Japanese screen painting, both literally and figuratively. The Momoyama period (1573-1615) was also an age of monumental architecture, with feudal lords building forts and castles of a size unprecedented in Japan. The great masters of the art of screen painting who were called upon to decorate the interiors of these large buildings filled them with screens of bold and innovative aesthetics, some with gold leaf covering their entire surfaces. Japan had a well-established tradition of incorporating gold leaf into art and decorative work.

The British Punitive Expedition against the Kingdom of Benin in 1897 spawned an outpouring of curiosity about this African kingdom, its stunning bronze sculpture (confiscated booty), and its tyrannical king. H. Long Roth’s Great Benin is one of the classic pieces of literature written about Benin. It is not a product of direct observation—the author never traveled in West Africa—but rather of careful research on eyewitness accounts and museum collections.