The Meadows Museum in Texas is famed for its collection of Spanish art. This new series documents exceptional loans from other American collections, offering audiences the singular opportunity to view them within the context of Meadows’s permanent collection. The Frick’s magnificent ‘King Philip IV of Spain’ by Diego Velázquez (1599–1660) is the subject of this volume.

This is the exceptionally rich story of Rembrandt’s fame and influence in Britain. No other nation has witnessed such a passionate – and sometimes eccentric – enthusiam for Rembrandt’s works. His imagery has become ubiquitous, making him one of the most recognised artists in history. In this book, some of the world’s leading experts reveal how the taste for Rembrandt’s paintings, drawings and prints evolved, growing into a mania that gripped collectors and art lovers across the country. This reached a fever pitch in the late 1700s, before the dawn of a new century ushered in a re-evaluation of Rembrandt’s reputation and opportunities for the wider public to see his masterpieces for themselves.

The story of Rembrandt’s profound and inspirational impact on the British imagination is illustrated by over 130 sumptuous works by the master himself, as well as by some of Britain’s best-loved artists, including William Hogarth, James Abbott McNeill Whistler, Eduardo Paolozzi and John Bellany.

Foreword; Introduction; 1 Rembrandt’s Fame in Britain, 1630 1900: An Overview- Christian Tico Seifert; 2 Rembrandt and Britain: The Modern Era – Patrick Elliott; 3 ‘The Finest Possible State’: Cataloguing and Collecting Rembrandt’s Prints, c.1700 1840 – Stephanie S. Dickey; 4 From Studio to Academy: Copying Rembrandt in Eighteenth-century Britain – Jonathan Yarker; 5 Regarding Rembrandt: Reynolds and Rembrandt – Donato Esposito; 6 Rembrandt: Paragon of the Etching Revival – Peter Black; 7 Rembrandt and Britain: A ‘Picture Flight’ in Three Stages, 1850 1930 – M.J. Ripps; Catalogue; Bibliography.

The papers in this volume examine the origins and cross-fertilization of ideas and technology related to the making of bronzes in France between the Renaissance and the 18th century from the perspectives chronology, geography and typology. The production of specific sculptors and founders, or of specific works of art are considered in terms of the technology, the documentation of both the processes and the persons involved e.g. sculptors, founders, merchants, etc. and how these may have impacted the stylistic and technical outcome. Also presented are state-of-the-art research methods and their application to multi-disciplinary studies – including historical and archeological investigations, analytical studies of materials (e.g. metal, core and patina), as well as experimental reconstructions of metallurgical processes. Text in English and French. Contents: From Primaticcio to Houdon: some key points – Francesco Bordoni: spécificités techniques chez un sculpteur-fondeur du 17e siècle – David Bourgarit, Francesca Bewer et Geneviève Bresc-Bautier; Barthélemy Prieur fondeur, son atelier, ses méthodes de travail – Regina Seelig-Teuwen, David Bourgarit et Francesca Bewer; De Dame Tholose au Mercure volant: fondre en Languedoc aux 16e et 17e siècles – Alain de Beauregard et Pascal Julien; Casts after the antique by Hubert Le Sueur – John Griswold, Catherine Hess and Jane Bassett with Geneviève Bresc-Bautier, Michel Bouchard and Rupert Harris; Keller et les autres: les fondeurs des jardins de Versailles – Alexandre Maral avec la collaboration d Antoine Amarger et David Bourgarit; Keller and his alloy: copper, some zinc and a little bit of tin – Jean-Marie Welter; Jean-Antoine Houdon: sculptor and founder – Jane Bassett and Guilhem Scherf; Small castings and multiples – The Dresden bronze of the Bath of Apollo: a model, not a copy – Françoise de La Moureyre and Uwe Peltz; Les bronzes décoratifs à Paris autour de 1700. À propos des groupes attribués à François Lespingola (1644 1705) – Philippe Malgouyres; Bronzes dorés: a technical approach to examination and authentication of French gilt bronze – Arlen Heginbotham; A Prussian manufactory of gilt bronzes à la française: Johann Melchior Kambly (1718 84) and the adoption of Parisian savoir-faire– Tobias Locker; Les mortiers, objets méconnus des bronziers français– Bertrand Bergbauer; Casting techniques: transmission and evolution – Casting sculpture and cannons in bronze: Jehan Barbet’s Angel of 1475 in the Frick Collection – Julia Day and Denise Allen; The cut-back core process in late 17th-and 18th-century French bronzes – Jane Bassett and Francesca G. Bewer; Témoins archéologiques d un atelier de bronzier fonctionnant à Saint-Denis à la fin du 16e siècle – Olivier Meyer, Nicolas Thomas et Michaël Wyss; The foundry at the hippodrome: a French foundry for monumental sculpture in Stockholm around 1700 – Linda Hinners; Boffrand’s and Mariette’s Descriptions of the casting of Louis XIV and Louis XV on Horseback – Anne-Lise Desmas; Fonte à la cire perdue en moule carapace. A travers les recherches et les réalisations de la fonderie de Coubertin – Jean Dubos.
The papers in this volume examine the origins and cross-fertilization of ideas and technology related to the making of bronzes in France between the Renaissance and the 18th century from the perspectives chronology, geography and typology. The production of specific sculptors and founders, or of specific works of art are considered in terms of the technology, the documentation of both the processes and the persons involved e.g. sculptors, founders, merchants, etc. and how these may have impacted the stylistic and technical outcome.

Also presented are state-of-the-art research methods and their application to multi-disciplinary studies – including historical and archeological investigations, analytical studies of materials (e.g. metal, core and patina), as well as experimental reconstructions of metallurgical processes.

Everett Fahy’s writings are of fundamental importance to the study of Tuscan Renaissance painting from the late 14th to the 16th century. An endeavor that lasted 50 years, starting with his 1965 essay on Piero di Cosimo and ending with his contributions for the 2015 Florentine exhibition on the same artist. In between Fahy wrote on some of the most acclaimed and loved artists (from Beato Angelico to Botticelli, from Ghirlandaio to the young Michelangelo), but also on lesser known masters such as Lorenzo di Nicolò, Spinello Aretino, the Master of the Campana panels, the Master of the Fiesole Adoration of the Magi, etc., and through his pioneering studies rediscovered minor artistic schools, such as the Lucca school. Fahy reconstruction of Fra Bartolomeo’s early career is considered a classic of art historiography.

With texts in English (36), French (1), and Italian (10).