Caroline Campbell – författare

To read most histories of art, you might be forgiven for supposing that great artists are superhuman, and the knowledge of different movements, periods and styles is essential to truly appreciate art.It's time to look at art in a new way.THE POWER OF ART delves into the stories behind remarkable acts of creation in fifteen global cities at pivotal moments of artistic brilliance. It shows how art is an integral part of our daily lives, embedded in the very fabric of our existence. From the enduring wonders of ancient Babylon to the menacing pastel architecture of contemporary Pyongyang, eminent curator Caroline Campbell intertwines the stories of artists with the broader social, cultural and political landscapes of their time.In each vivid episode, Campbell reveals how art, in all its forms, is a testament to humanity's inventiveness and ingenuity: it has served our fundamental needs for shelter, sustenance, spirituality, pleasure, order and community. But it can also evoke envy, anger, greed, and even be used as a means of social control.Spanning thousands of years of creativity, THE POWER OF ART will ignite your imagination and open your eyes to the art that surrounds us, whether it be a painting in a gallery, a public sculpture or an everyday object with hidden beauty.

To read most histories of art, you might be forgiven for supposing that great artists are superhuman, and the knowledge of different movements, periods and styles is essential to truly appreciate art.It's time to look at art in a new way.THE POWER OF ART delves into the stories behind remarkable acts of creation in fifteen global cities at pivotal moments of artistic brilliance. It shows how art is an integral part of our daily lives, embedded in the very fabric of our existence. From the enduring wonders of ancient Babylon to the menacing pastel architecture of contemporary Pyongyang, eminent curator Caroline Campbell intertwines the stories of artists with the broader social, cultural and political landscapes of their time.In each vivid episode, Campbell reveals how art, in all its forms, is a testament to humanity's inventiveness and ingenuity: it has served our fundamental needs for shelter, sustenance, spirituality, pleasure, order and community. But it can also evoke envy, anger, greed, and even be used as a means of social control.Spanning thousands of years of creativity, THE POWER OF ART will ignite your imagination and open your eyes to the art that surrounds us, whether it be a painting in a gallery, a public sculpture or an everyday object with hidden beauty.

An innovative study of the relationship between Andrea Mantegna and Giovanni Bellini, two masters of the Italian Renaissance Andrea Mantegna (c. 1431–1506) and Giovanni Bellini (active c. 1459; died 1516) each produced groundbreaking paintings, marked by pictorial and technical innovations, that are among the masterpieces of the Italian Renaissance. Exploring the fruitful dynamic between Mantegna’s inventive compositional approach and interest in classical antiquity and Bellini’s passion for landscape painting, this fascinating volume examines how these two artists, who were also brothers-in-law, influenced and responded to each other’s work.  Full of new insights and captivating juxtapositions—including comparisons of each of the artist’s depictions of the Agony in the Garden and the Presentation to the Temple—this study reveals that neither Mantegna’s nor Bellini’s achievements can be fully understood in isolation and that their continuous creative exchanges shaped the work of both.Published by National Gallery Company/Distributed by Yale University PressExhibition Schedule:National Gallery, London(10/01/18–01/27/19)Gemäldegalerie, Berlin(03/01/19–06/30/19)

An exploration of a crucial turning point in Italian art, the early 1300s in the city of Siena “This is a book to be savored and treasured, much like the objects it celebrates.”—Ann Landi, Wall Street Journal In the early 1300s, the city of Siena gave rise to an extraordinary period of creativity and innovation. Painters, sculptors, and goldsmiths produced remarkable works whose impact was felt far beyond the city’s walls. From vast altarpieces to portable objects for private devotion, the art emanating from Siena left an enduring legacy. This book explores a crucial turning point in Italian art when the prestige of painting reached new heights. Siena became the centre of a rich exchange of ideas, as painters took inspiration from marble and ivory sculptures, intricate metalwork, and precious imported silks to enhance the power of their work. Travelling beyond their native city, Sienese artists made their mark across Italy and into northern Europe.Beautifully illustrated and featuring important new scholarship, chapters explore masterpieces by four of Siena’s most illustrious painters—Duccio, Simone Martini, and Ambrogio and Pietro Lorenzetti—alongside objects in other media and from other countries and cultures, encouraging fresh perspectives and dialogues between these groundbreaking works. Published by National Gallery Global/Distributed by Yale University Press

Sir Peter Lely (1618-1680) was Charles II’s Principal Painter and the outstanding artistic figure of Restoration England. When Lely arrived in England in the early 1640s his ambition was to be a painter of narrative scenes and not to work as a portraitist. However, the ‘subject pictures’ did not find favor with many English patrons and he produced less than thirty. As Lely’s friend Richard Lovelace explained, all they wanted was “their own dull counterfeits” or portraits of their mistresses. Thus, Lely was obliged to turn to portraiture to make a living. Yet, his poetic pictures of figures in idyllic landscapes are among the most beautiful paintings made in 17th-century England and this catalog will be the first in-depth look at this important chapter of this major painter’s career. Lely was born in Westphalia and received his artistic training in Haarlem with Frans Pietersz. De Grebber. He came to England around 1643. Few painters had stayed in London following the move of the Royal Court to Oxford, and Lely was therefore free to establish his reputation in the city. By 1650 he had settled at a house on Covent Garden Plaza (a five-minute walk from Somerset House) where he remained for the rest of his life. His major patrons were the ‘Puritan Earls’, a group of cultivated noblemen including the Duke of Northumberland and the Earls of Pembroke and Salisbury, as well as the circle surrounding the Countess of Dysart at Ham House. Lely never met Van Dyck (who had died in London in 1641), but he had the opportunity to study his paintings and those of the great Venetian 16th-century artists Giorgione and Titian in the houses of these wealthy aristocratic patrons. He began to buy these works himself and by the end of his life had amassed one of Europe’s richest collections of 16th- and 17th-century Italian paintings and drawings. It was probably in response to the pictures of Van Dyck and the Venetian Renaissance that he made his most ambitious works, including The Concert (The Courtauld Gallery) and Nymphs by a Fountain (Dulwich Picture Gallery, London). This group of enigmatic paintings are massive in scale and united by strong lighting, idealized landscape settings and a sense of theatricality and sensuality. Unlike many painters, Lely did not rely on classical mythology, but was able to create his own, highly personal dramas. For instance, it is likely that the man playing the viola da gamba in the center of The Concert is the painter himself. The exhibition Peter Lely: A Lyrical Vision at The Courtauld Gallery, London, is on view from 11 October 2012 to 13 January 2013.

This book is a comprehensive guide to pediatric dental fear/anxiety (DFA) and phobia that will provide practitioners with a full understanding of the etiology, prevalence, assessment, and management of these conditions.