Art in Rome in the Eighteenth Century

Great book. The flaws have been exaggerated by a previous reviewer in my opinion. I would not want to be without it.

Rome, forever beckoning, forever fascinating. And, as we're reminded in this landmark volume, Rome during the 18th century was the birthplace of countless art treasures. Such a plethora of richness was due, in large part, to wealthy travelers doing the Grand Tour who eagerly offered patronage, and the flourishing academic environment - the Accademia di San Luca, the French Academy, the Accademia dell' Arcadia. Thus, a virtual mother lode of work in all media was produced, not only to be shipped to the opulent homes of the visiting aristocrats but to adorn the Eternal City's churches, palaces, fountains, piazzas, and gardens. It was in this climate that artists such as Canova, Maratti, Piranesi, Baroni, David, and Fuseli flourished. Art In Rome presents some 500 glorious illustrations accompanied by edifying texts penned by some of the world's foremost scholars. It is a volume to savor, to treasure, and to enjoy over and over again. We find Antonio Canova, perhaps best remembered for his reclining portrait figure of Pauline Borghese as the victorious Venus. Here, we are reintroduced to his skill in the qualities of classicism as shown in "Theseus with the Dead Minotaur." Originally a stonemason, he turned to sculpture after moving to Venice in 1768. He was to become the most influential sculptor of the Neoclassical period. There is Maratti (Carlo Maratta), the leading painter in Rome during the late 17th century, and Fuseli, a Swiss-born painter, draughtsman, and writer on art. who came to Italy where he became enthralled with the works of Michelangelo. The list of artists represented is lengthy; the visual pleasures found in these splendid illustrations are many. Art In Rome captures much that has previously been given scant attention in the annals of cultural history.