Notice bibliographique
- Notice
Type(s) de contenu et mode(s) de consultation : Texte noté. Image fixe : sans médiation
Titre(s) : Charles I [Texte imprimé] : king and collector / exhibition catalogue Florence Dassonville, Béatrice Güllstom, Alison Hissey... [et al.]
Publication : London : Royal academy of arts, copyright 2018
Description matérielle : 1 vol. (267 p.) : ill. en coul. ; 31 cm
Note(s) : "In partnership with Royal Collection Trust.". - Catalogue of an exhibition held at the Royal Academy of Arts in London, UK from
January 27 to April 15, 2018--Title page verso. - Includes bibliographical references (pages 259-266) and index
Text in English.
During his reign, King Charles I (1600-1649) assembled one of Europe's most extraordinary
art collections. Indeed, by the time of his death, it contained some 2,000 paintings
and sculptures. 'Charles I: King and Collector' explores the origins of the collection,
the way it was assembled and what it came to represent. Authoritative essays provide
a revealing historical context for the formation of the King's taste. They analyse
key areas of the collection, such as the Italian Renaissance, and how the paintings
that Charles collected influenced the contemporary artists he commissioned. Following
Charles's execution, his collection was sold. This book, which accompanies the exhibition,
reunites its most important works in sumptuous detail. Featuring paintings by such
masters as Van Dyck, Rubens and Raphael, this striking publication offers a unique
insight into this fabled collection ; "Over a period of only two decades in the first
half of the seventeenth century, King Charles I assembled one of the most spectacular
art collections ever seen. Over 2,000 paintings and sculptures by such artists as
Titian, Mantegna, Holbein, Dürer, Rubens and Van Dyck filled London's royal palaces
and became the envy of the most magnficient courts of Europe. Charles I was executed
on 30 January 1649, and over the following years his collection was scattered. This
book reassembles his exceptional collection, and explores how and why he became the
pre-eminent art collector of his age."
Autre(s) auteur(s) : Royal academy of arts (GB). Éditeur scientifique
Autre(s) titre(s) conventionnel(s) : [Exposition. Londres, Royal academy of arts. 2018]
Sujet(s) : Charles Ier (1600-1649 ; roi d'Angleterre) -- Collections d'art
Charles Ier (1600-1649 ; roi d'Angleterre) -- Mécénat
Peinture -- Collections privées -- Londres (GB) -- 17e siècle
Genre ou forme : Catalogues
Identifiants, prix et caractéristiques : ISBN 1910350672. - ISBN 9781910350676. - ISBN 9781910350850. - ISBN 1910350850
Identifiant de la notice : ark:/12148/cb466017653
Notice n° :
FRBNF46601765
(notice reprise d'un réservoir extérieur)
Table des matières : Foreword / / HRH The Prince of Wales ; ; Foreword / / Christopher Le Brun ; ; Sponsor's
preface -- ; Acknowledgements and Honorary Committee --. 'The greatest amateur of
paintings among the princes of the world' / / Per Rumberg and Desmond Shawe-Taylor
; ; Chronology / / Lucy Chiswell and Niko Munz ; ; Artists and agents: ; Connoisseurship
at the Caroline Court / / Jeremy Wood ; ; Madrid and Mantua: ; Charles I's visit
to Madrid / / Guido Rebecchini ; ; 'Rare and unique in this world': Mantegna's Triumph
and the Gonzaga Collection / / Barbara Furlotti and Guido Rebecchini ; ; The Northern
Renaissance: ; Charles I and the Northern Renaissance / / David Ekserdjian ; ; The
Italian Renaissance: ; Charles I and the Italian Renaissance / / David Ekserdjian
; ; The royal portrait: ; The 'act and power of a face': Van Dyck's royal portraits
/ / Desmond Shawe-Taylor ; ; Van Dyck and Rubens in England: ; Van Dyck, Titian and
Charles I / / Per Rumberg ; ; Rubens, painter and diplomat / / Gregory Martin ; ;
The Queen's house: ; Henrietta Maria, Charles I and the Italian Baroque / / Karen
Serres ; ; The Mortlake Tapestries: ; Charles I and Raphael's Acts of the Apostles
/ / Helen Wyld ; ; The Whitehall Cabinet: ; A 'more solitary place': Charles I and
his Cabinet / / Vanessa Remington and Lucy Whitaker.
