Offprint from Acta historiae artium Academiae Scientiarum Hungaricae, Tomus 41, 1999/2000.

Celebrated connoisseur, drawings collector, print dealer, book publisher and authority on the art of antiquity, Pierre-Jean Mariette (1694-1774) was a pivotal figure in the eighteenth-century European art world. Focusing on the trajectory of Mariette?s career, this book examines the material practices and social networks through which connoisseurs forged the idea of art as an object of empirical and historical analysis. Drawing on significant unpublished archival material as well as on histories of science, publishing, collecting and display, this book shows how Mariette and his colleagues? practices of classification and interpretation of the graphic arts gave rise to new conceptions of artistic authorship and to a history of art that transcended the biographies of individual artists. To follow Mariette?s career through the eighteenth century is to see that art was consolidated as a specialized category of intellectual inquiry-and that style emerged as its structuring analytic device-in the overlapping spaces of the collector?s cabinet, the connoisseur?s portfolio and the dealer?s shop.

Das 18. Jahrhundert war das Zeitalter der Kunstkenner: in und zugleich Ära eines globalen Bewusstseins, das aus dem sich beschleunigenden Handel und imperialen Eroberungen hervorging. Diese Publikation bringt die Kennerschaft, die sich als empirische Methode der Kunstanalyse in Europa und Asien etablierte, in einen Dialog mit der zunehmenden Auseinandersetzung mit unterschiedlichen Formen des Kunstschaffens, die im Verlauf des langen 18. Jahrhunderts durch lokale und globale Netzwerke ermöglicht wurde. Die Autor: innen des Buches nehmen Wechselbeziehungen zwischen Indien, Japan, China und Europa in den Blick und untersuchen, wie sich Begegnungen mit Kunstwerken aus verschiedenen Regionen der Welt auf die Praxis der Kunstkennerschaft in Asien und Europa auswirkten. Praktiken und Netzwerke in Indien, Japan und Europa des 18. Jahrhunderts Komplexität und Asymmetrien der Kunstkennerschaft in einer expandierenden Welt

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. The eighteenth-century fascination with Greek and Roman antiquity followed the systematic excavation of the ruins at Pompeii and Herculaneum in southern Italy; and after 1750 a neoclassical style dominated all artistic fields. The titles here trace developments in mostly English-language works on painting, sculpture, architecture, music, theater, and other disciplines. Instructional works on musical instruments, catalogs of art objects, comic operas, and more are also included. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ Huntington Library N009199 Anonymous. By Thomas Martyn. Dublin: printed for T. and J. Whitehouse, 1767. 2v.; 12°

Bruce Redford re-creates the vibrant culture of connoisseurship in Enlightenment England by investigating the multifaceted activities and achievements of the Society of Dilettani. Elegantly and wittily he dissects the British connoisseurs whose expeditions, collections, and publications laid the groundwork for the Neoclassical revival and for the scholarly study of Graeco-Roman antiquity. After the foundation of the society in 1732, the Dilettani commissioned portraits of the members. Including a striking group of mock-classical and mock-religious representations, these portraits were painted by George Knapton, Sir Joshua Reynolds, and Sir Thomas Lawrence. During the second half of the century, the society’s expeditions to the Levant yielded a series of pioneering architectural folios, beginning with the first volume The Antiquities of Athens in 1762. These monumental volumes aspired to empirical exactitude in text and image alike. They prepared the way for Specimens of Antient Sculpture (1809), which combines the didactic (detailed investigations into technique, condition, restoration, and provenance) with the connoisseurial (plates that bring the illustration of ancient sculpture to new artistic heights). The Society of Dilettanti’s projects and publications exemplify the Enlightenment ideal of the gentleman amateur, which is linked in turn to a culture of wide-ranging curiosity.