Bernardo Bellotto (1722-1780) is one of the most famous vedute painters of the 18th century. His views and prospects of town and country are so rich in detail, so precisely and meticulously painted that historic places come to life again before the viewer's eyes. But far from being simply faithful reproductions of sights, his vedute are rather carefully planned compositions, the result of the artist availing himself of all the technical know-how of his age. During his time in Dresden, Bellotto created some of his most important works, which now form part of the collection at the Gemaldegalerie Alte Meister. These vedute still influence the way Dresden is perceived today, at home and abroad. They present a wonderful panorama of the old Augustan city, on which two of the greatest art collectors in German history - Augustus the Strong and his son Augustus III - left their mark. Thanks to these two electors, who simultaneously held the crown of the Polish-Lithuanian Commonwealth, the Dresden art collections flourished, becoming some of the most important in the world. This volume traces the various stages of Bellotto's career, focussing in detail on the canvases of his Dresden period. It also examines the history of the world-famous picture gallery, the Gemaldegalerie Alte Meister, and the era of Baroque collection-building in Dresden.

How do our senses help us to understand the world? This question, which preoccupied Enlightenment thinkers, also emerged as a key theme in depictions of animals in eighteenth-century art. This book examines the ways in which painters such as Chardin, as well as sculptors, porcelain modelers, and other decorative designers portrayed animals as sensing subjects who physically confirmed the value of material experience. The sensual style known today as the Rococo encouraged the proliferation of animals as exemplars of empirical inquiry, ranging from the popular subject of the monkey artist to the alchemical wonders of the life-sized porcelain animals created for the Saxon court. Examining writings on sensory knowledge by La Mettrie, Condillac, Diderot and other philosophers side by side with depictions of the animal in art, Cohen argues that artists promoted the animal as a sensory subject while also validating the material basis of their own professional practice.

The study of provenance—the history of the creation and ownership of an artefact, work of art, or specimen—provides insights into the history of taste and collecting, illuminating the social, economic, and historic trends in which an object was created and collected. It is as much a history of people as it is of objects, and its study often reveals intricate networks of relationships, patterns of activity and motivations. This book promotes the study of the history of collecting and collections in all their variety through the lens of provenance, and explores the subject as a cross-disciplinary activity. Perhaps for the first time in a publication, it draws on expertise ranging from art history and anthropology, to natural history and law, looking at periods from antiquity through the 18th century and the Holocaust era to the present, and materials from Europe and the Americas to China and the Pacific. The issues raised are wide-ranging, touching on aspects of authenticity, cultural meaning and material transformation and economic and commercial drivers, as well as collector and object biography. The book fills a gap in the study of collecting and provenance, taking the subject holistically and from multiple standpoints, better to reflect the widening interest in provenance from a range of disciplinary perspectives. This book will be a service to the field, from established scholars and museum professionals to students of collecting history, cultural heritage, and museum studies.

This essential knowledgeably explains the key decisions to be made in the practice of cultural tourism marketing. After an introduction to the term and the central characteristics, the main activities in the planning process of cultural tourism marketing are presented. Building on this, Andrea Hausmann describes marketing strategies that are particularly relevant in practice, dealing with the different types of cultural tourism demand (segmentation), brand management (branding), the realization of innovations (digitalization) and entering into cooperations or forming networks. Finally, typical focal points in the marketing mix of cultural tourism service providers are highlighted and the importance of personnel for the quality experience of demand is elaborated. The author: Prof. Dr. Andrea Hausmann is a professor at the Institute for Cultural Management at the Ludwigsburg University of Education. She advises cultural enterprises and tourism organisations on the topics of cultural tourism, marketing and personnel.