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Plunder
Napoleon's Theft of Veronese's Feast
Buch von Cynthia Saltzman
Sprache: Englisch

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Beschreibung
One of The Christian Science Monitor's Ten Best Books of May

"A highly original work of history . . . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two." -Roger Lowenstein, The Wall Street Journal

A captivatingstudy of Napoleon's plundering of Europe's art for the Louvre, told through the story of a Renaissance masterpiece seized from Venice
Cynthia Saltzman's Plunder recounts the fate of Paolo Veronese's Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers' space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings.

As Saltzman tells the larger story of Napoleon's looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness-to carry forward the finest aspects of civilization-and his ruthlessness in getting whatever he sought. After Napoleon's 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre's plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa.

Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.
One of The Christian Science Monitor's Ten Best Books of May

"A highly original work of history . . . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two." -Roger Lowenstein, The Wall Street Journal

A captivatingstudy of Napoleon's plundering of Europe's art for the Louvre, told through the story of a Renaissance masterpiece seized from Venice
Cynthia Saltzman's Plunder recounts the fate of Paolo Veronese's Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers' space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings.

As Saltzman tells the larger story of Napoleon's looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness-to carry forward the finest aspects of civilization-and his ruthlessness in getting whatever he sought. After Napoleon's 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre's plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa.

Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.
Über den Autor
Cynthia Saltzman is the author of Portrait of Dr. Gachet: The Story of a Van Gogh Masterpiece and Old Masters, New World: Americäs Raid on Europe¿s Great Pictures. A former reporter for Forbes and The Wall Street Journal, she is the recipient of a fellowship from the Guggenheim Foundation and has degrees in art history from Harvard and the University of California at Berkeley. She lives in Brooklyn, New York.
Inhaltsverzeichnis

Introduction: ¿One of the greatest [paintings] ever made with a brush¿
1. ¿Send me a list of the pictures, statues, cabinets and curiosities¿
2. Venice need not ¿fear that the French Armies would not fully respect its neutrality¿
3. ¿Master Paolo will . . . not spare any expense for the finest ultramarine¿
4. ¿He is rich in plans¿
5. ¿This museum must demonstrate the nation¿s great riches¿
6. ¿Draw as much as you can from Venetian territory¿
7. ¿The Pope will deliver . . . one hundred paintings, busts, vases or statues¿
8. ¿I¿m on a path a thousand times more glorious¿
9. ¿The Republic of Venice will surrender . . . twenty paintings¿
10. ¿In the Church of St. George . . . The Wedding Feast at Cana¿
11. ¿We . . . have received from Citizen Pietro Edwards¿
12. ¿The most secure way would be to send them on a frigate, with 32 cannons¿
13. ¿The seam . . . will be unstitched¿
14. ¿The Revolution . . . is finished¿
15. ¿You enter a gallery¿such a gallery. But such a gallery!!!¿
16. ¿The transparency of air . . . place[s] Gros beside Tintoretto and Paul Veronese¿
17. ¿This beautiful work reminds us of the picture by Paul Veronese¿
18. ¿I succeeded . . . in packing most of the pieces of small size and great value¿
19. ¿The only thing to do is to burn them!¿
20. ¿This foreboding painting . . . seems to summon the eye . . . from all directions¿
21. ¿The masterpieces of the arts now belong to us¿
22. ¿We are at last beginning to drag forth from this great cavern of stolen goods the precious objects of Art¿
Epilogue

Notes
Selected Bibliography
Acknowledgments
Index

Details
Erscheinungsjahr: 2021
Fachbereich: Allgemeines
Genre: Geschichte, Importe
Rubrik: Geisteswissenschaften
Thema: Lexika
Medium: Buch
Inhalt: Gebunden
ISBN-13: 9780374219031
ISBN-10: 0374219036
Sprache: Englisch
Einband: Gebunden
Autor: Saltzman, Cynthia
Hersteller: Farrar, Straus and Giroux
Verantwortliche Person für die EU: preigu, Ansas Meyer, Lengericher Landstr. 19, D-49078 Osnabrück, mail@preigu.de
Maße: 236 x 162 x 35 mm
Von/Mit: Cynthia Saltzman
Erscheinungsdatum: 11.05.2021
Gewicht: 0,56 kg
Artikel-ID: 121018888
Über den Autor
Cynthia Saltzman is the author of Portrait of Dr. Gachet: The Story of a Van Gogh Masterpiece and Old Masters, New World: Americäs Raid on Europe¿s Great Pictures. A former reporter for Forbes and The Wall Street Journal, she is the recipient of a fellowship from the Guggenheim Foundation and has degrees in art history from Harvard and the University of California at Berkeley. She lives in Brooklyn, New York.
Inhaltsverzeichnis

Introduction: ¿One of the greatest [paintings] ever made with a brush¿
1. ¿Send me a list of the pictures, statues, cabinets and curiosities¿
2. Venice need not ¿fear that the French Armies would not fully respect its neutrality¿
3. ¿Master Paolo will . . . not spare any expense for the finest ultramarine¿
4. ¿He is rich in plans¿
5. ¿This museum must demonstrate the nation¿s great riches¿
6. ¿Draw as much as you can from Venetian territory¿
7. ¿The Pope will deliver . . . one hundred paintings, busts, vases or statues¿
8. ¿I¿m on a path a thousand times more glorious¿
9. ¿The Republic of Venice will surrender . . . twenty paintings¿
10. ¿In the Church of St. George . . . The Wedding Feast at Cana¿
11. ¿We . . . have received from Citizen Pietro Edwards¿
12. ¿The most secure way would be to send them on a frigate, with 32 cannons¿
13. ¿The seam . . . will be unstitched¿
14. ¿The Revolution . . . is finished¿
15. ¿You enter a gallery¿such a gallery. But such a gallery!!!¿
16. ¿The transparency of air . . . place[s] Gros beside Tintoretto and Paul Veronese¿
17. ¿This beautiful work reminds us of the picture by Paul Veronese¿
18. ¿I succeeded . . . in packing most of the pieces of small size and great value¿
19. ¿The only thing to do is to burn them!¿
20. ¿This foreboding painting . . . seems to summon the eye . . . from all directions¿
21. ¿The masterpieces of the arts now belong to us¿
22. ¿We are at last beginning to drag forth from this great cavern of stolen goods the precious objects of Art¿
Epilogue

Notes
Selected Bibliography
Acknowledgments
Index

Details
Erscheinungsjahr: 2021
Fachbereich: Allgemeines
Genre: Geschichte, Importe
Rubrik: Geisteswissenschaften
Thema: Lexika
Medium: Buch
Inhalt: Gebunden
ISBN-13: 9780374219031
ISBN-10: 0374219036
Sprache: Englisch
Einband: Gebunden
Autor: Saltzman, Cynthia
Hersteller: Farrar, Straus and Giroux
Verantwortliche Person für die EU: preigu, Ansas Meyer, Lengericher Landstr. 19, D-49078 Osnabrück, mail@preigu.de
Maße: 236 x 162 x 35 mm
Von/Mit: Cynthia Saltzman
Erscheinungsdatum: 11.05.2021
Gewicht: 0,56 kg
Artikel-ID: 121018888
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