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Celebrated for his erotically charged allegories with amorous couples entwined in intimate poses, Bartholomeus�Spranger (1546–1611) was a leading master of Mannerism, �working for influential patrons across Europe, including the Emperor Rudolf II in Prague, where he was known as one of the first truly international artists. This comprehensive book, the first publication devoted to Spranger’s influential life and career, features nearly all the paintings, drawings, and etchings by this artist from some of the most renowned museums and private collections in the world.
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Despite the widespread fame and influence he achieved during his lifetime, Spranger has become an elusive and misunderstood figure. This book rectifies that omission, examining Spranger’s extraordinary life and work against the backdrop of European culture, politics, and intellectual history and tracing his artistic journey from apprenticeship in Antwerp to triumph in Prague, with sojourns in France, Italy, and Austria. �This sumptuous publication is a major contribution to art history, restoring Spranger to his rightful position as one of the most important and influential artists of the era.
- Sales Rank: #886616 in Books
- Published on: 2014-12-09
- Original language: English
- Number of items: 1
- Dimensions: 10.87" h x 1.75" w x 9.80" l, .0 pounds
- Binding: Hardcover
- 380 pages
About the Author
Sally Metzler is guest curator at The Metropolitan Museum of Art and adjunct associate professor at Northwestern University.
Most helpful customer reviews
14 of 15 people found the following review helpful.
Spranger from Antwerp to Prague: A Definitive Study
By Kenneth Hughes
The volume, the first extensive study of Bartholomeus Spranger in English and the most comprehensive survey of his work in any language, serves two functions. It is, first, the catalogue of the exhibition of the same name at New York's Metropolitan Museum of Art from November 2014 until February 2015. This is a major exhibition, the first ever devoted to Spranger's art, and it collects works from over fifty institutional and private lenders worldwide. Second, it goes far beyond its exhibition function and comprises a catalogue raisonn� of the artist's complete works as painter, draftsman, and etcher and includes also all the known engravings after his work. As the first full-length biography and critical study of him, it is the product of an immense amount of research and thought on the part of the volume's sole author, Sally Metzler, an art historian at Northwestern University, who organized the show as Guest Curator at the Met. She mentions in her introduction that her first encounter with Spranger was in Munich's Alte Pinakothek, on a wintry day that marked the beginning of a "lifelong study" (7). She does not say exactly how long ago that encounter occurred, but it is clear from the depth and breadth of her scholarship that she has spent decades on this book. Her material, however, is completely up to date, noting even the May 2014 death of Cornelius Gurlitt (the reclusive Munich art hoarder whose father was one of Hitler's four official dealers in stolen art), who may have had a Spranger painting in his trove. This is an enormous compendium of information about Spranger and his art, but it also puts him in context with the patrons and other artists he encountered as his travels took him from Antwerp, where he was born in 1546, through France and Italy, to Vienna and finally to Prague, where he died in 1611. In her fifty-page introductory essay and biographical sketch, Dr. Metzler clearly demonstrates the complex interweaving of various influences in the evolution of Spranger's style, as he traveled and picked up techniques and ideas from fellow artists with whom he worked or whom he studied. Trained initially as a Flemish landscape painter, his sojourns in France and Italy exposed him to the various devices of the Italian Mannerists, such as Parmigianino's figural elongation; and when in Rome he was strongly influenced by the "monumental-in-miniature" technique that Giulio Clovio had adapted from Michelangelo, along with his pronounced Michelangelesque muscularity. These and other artistic threads from North and South eventually united to make up the kind of Central European Mannerism that became the hallmark of Spranger's mature style, which characteristically features Northern landscapes grounding the suggestive foreplay, post-coital lassitude or general erotic intertwining of deities and select mortals who have clearly spent a lot of time in the Olympic Gym. Dr. Metzler sheds good light on the development of a specifically Rudolfine aesthetic--the Emperor knew what he wanted from his artists, and his foremost artist was Spranger: he even insisted that Spranger maintain his studio within the confines of Prague Castle itself and work there for seventeen years, so that he could pop in from time to time and keep an eye on the work in progress. Rudolf was something of an odd duck, not overtly perverse, but apparently a bit hypersexed, and the author is particularly good at describing how his artistic tastes--which tended toward the intellectually esoteric, secular, and erotic--influenced the establishment of that aesthetic and the practice of his artists: "Splendor and Eroticism" is a precisely evocative expression for what this art is about.
The volume reproduces all of Spranger's known works and all known primary engravings after them, and so it is a superbly illustrated book, with a total of 232 reproductions accompanied by seventy companion illustrations. It is organized by genre into three catalogues, each chronologically arranged, with those works exhibited at the Met so indicated: Cats. 1-88 are the paintings, from 1567 to 1610; Cats. 89-156 are the drawings and etchings, from 1571/72 to 1605 (only three etchings are now known of a possible six that he may have done); and Cats. 160-232 are the engravings after his work. Some of these reproductions are full-page, but most are at least half-page, and all are large and clear enough to be easily legible. The paintings are reproduced in fine color and definition. Each reproduction receives a fully annotated commentary including marks, provenance, references to the literature, and significant copies in various mediums. One distinguishing feature of the engravings catalogue is the transcription and translation into English of all writing, whether dedication, signature or the sometimes rather long accompanying verses; this is a boon to those whose Latin is not sufficient to read the original, for much of it is Ovidian in origin, and it is entertaining to see the homiletic uses to which the "Metamorphoses" can be put. Dr. Metzler's attention is not to the specific qualities or mechanics of the engraving, but rather to Spranger's artistic input, and in this regard they add an important dimension to the entire survey: since Spranger's preparatory drawings for most of the prints no longer exist, the prints themselves are valuable witnesses to his artistic development. The catalogue is limited to primary engravings; the author notes that to include secondary engravings, copies, etc. would be virtually impossible since they are innumerable and geographically boundless, a fact which in itself points to the enormous popularity of Spranger's works during his lifetime and in the decades and even centuries after his death. It is certainly an anomaly of art history that this fascinating body of work has not been investigated so extensively before. This book more than compensates for that relative neglect: Dr. Metzler's scholarship is so encompassing and meticulous that I can't think of any reason why we should need another Spranger book for a couple of generations at least. In view of the author's extensive commentaries, not much scholarly apparatus is required, but there is an appendix gathering misattributed and indeterminate works as well as drawings copied after lost originals, a substantial general bibliography, and a comprehensive index. This is a monumental achievement, a significant contribution to the history of Western art, and highly recommended for all those interested in the artistic treatment of mythological themes, Mannerism, or Central European art and culture in the late sixteenth century.
0 of 0 people found the following review helpful.
Great exhibition, great catalogue
By Rick
Great exhibition, great catalogue
0 of 1 people found the following review helpful.
Not a good idea because they are both so luscious and sensual ...
By Paul Harmon
I received this book at the same time as "Pleasure and Piety: The Art of Joachim Wtewael". Not a good idea because they are both so luscious and sensual and alluring. Which to dive into first? I suggest you get both and have the lovely problem of too much beauty, too much sensual pleasure. I am bouncing back and forth between the two like a kid in a candy shop. Beautiful reproductions and a solid interesting text!
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