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"Pacini, Marina"
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Venice in the age of Canaletto
\"Canaletto's landscapes are arguably, even today, the most familiar artistic products of eighteenth-century Venice For those with the requisite means, no visit to the city would be considered complete without the purchase of at least one of the artist's views, which captured the city's topography and urban activity with apparent verisimilitude. ... View painting, not a favored genre during the preceding several centuries, gained considerable popularity in the 1700s. Its ascendency corresponded directly to increased foreign travel and in particular to the aristocratic Englishmen who, having embarked on the Grand Tour - an itinerary which necessarily included Venice - sought mementos of their travels. ... However, for all Canaletto's popularity and his ability to capture the fabric of Venice at its most appealing and evocative, his work is curiously devoid of the rich coloring, sensuality, and exuberance of most Venetian art of the period. To help elucidate the complicated forces that shaped Canaletto and the city of Venice during his age, this catalogue offers a range of essays.\"--preface.
BOOK
Tracking Marisol in the Fifties and Sixties
Profiles the Venezuelan artist Marisol (b.1930) focusing on the 1950s and 1960s drawing on information from the 1962 Stable Gallery 'Biographical Notes', held in the Archives of American Art, Smithsonian Institution, in Washington, D.C. The author notes the conflicting information documenting the artist's life, states that the 'Notes' provide an overview of Marisol's artistic training and early career, and details her training as a painter citing her identification of the artist Hans Hoffman as her only significant teacher. She explores reasons for Marisol's switch from painting to sculpture between 1953 and 1954, discusses her representation in New York galleries and favourable critical reception, and describes her experimentation with a range of materials from 1957. She comments on Marisol's travels at critical junctures of her career, highlights her representation in pivotal Museum of Modern Art, New York, exhibitions 'The art of assemblage' (1961) and 'The Americans' (1963), and discusses her series of fish sculptures produced during the 1970s. She concludes by arguing that Marisol's early promise indicated in the 'Notes' is borne out in her successful career.
Journal Article