This book features an extraordinary album of ornament designs by the French architect Gilles-Marie Oppenord (1672-1742). In charge of the buildings and grounds of Philippe; duke of Orleacute;ans; regent of France during the minority of Louis XV; Oppenord was at the center of the architectural practice of his time. As made evident by this album; his consummate draftsmanship; praised by his contemporaries and coveted by collectors; exceeded by far the practical demands usually required of architects. On a copy of the first French edition of Cesare Ripas Iconologia; published by Jean Baudoin in 1636 with engravings by Jacques de Bieacute;; Oppenord drew vignettes; head and tail pieces; borders and other ornamental motifs. For the first time; this publication reproduces Oppenords album in its initial state. Todays reassembled and rebound album of sixty sheets bears little resemblance to Oppenords original copy. A bibliographic analysis of the Ripa-Baudoin book; based on a copy kept at the Bibliothegrave;que nationale de France; and confirmed by a previously unnoticed numbering by Oppenord; guided this first reconstitution. In lieu of a haphazard succession of sketches; it reveals Oppenords fascinating interplay between text; engraved and drawn images.
#1874600 in eBooks 2012-10-04 2012-12-20File Name: B00AWJOQ4U
Review
15 of 15 people found the following review helpful. An Interesting Approach to a Fascinating ArtistBy Robert H. Nunnally Jr.Joseph Cornell has become a favorite of many art-lovers. His assemblage boxes of materials on topics ranging from rabbits to Lauren Bacall to the ornaments and symbols of childhood make for fascinating viewing. Cornell is a curious personality. On the one hand; he self-documented to a far greater extent than many artists; so that a relatively rich record of "what the artist was thinking" exists. On the other hand; he lived his life in a reclusive; introspective; elusive way; so that the viewer never quite feels that s/he has "gotten ones arms" around his perspective.Lindsay Blairs "Josephs Cornells Vision of Spiritual Order" uses as its critical basis the foundations of Cornells beliefs and influences; in an effort to help make the more elusive aspects of his work a bit clearer. She writes excellent passages about the way in which Cornell was influenced by; but certainly not at all co-opted by; the surrealist artists. She adroitly uses passages from Cornells own writings; as well as analogies from his personal history; to provide cogent criticism which is less "art critic projection" and more a sincere; highly readable attempt to "get into" the mind of a man whose mind assiduously resisted such invasions.Ms. Blair recognizes that Christian Science; Mr. Cornells faith; has an impact on his work. In this respect; her writing is less revelatory; as her summation of the new thought ideas of Christian Science are a bit reductive. Mr. Cornells work obviously has strong religious roots. Although Ms. Blair seems to have read up on some basic ideals of the faith; the passages in which she discusses Mr. Cornells faiths influence on his work seem much less insightful than her discussion of the effects of other aspects of his personal life upon his work. One wonders if Mr. Cornell had been from a more "mainstream" faith if the explicitly religious motivation for some of his work (as revealed in his own writings) might have gotten a more comprehensive and detailed treatment than Ms. Blair accords here.This is a very fine book; certainly one worth owing; but ironically; the reader is left wanting a bit more discussion of the actual "vision of a spiritual order" and perhaps a bit less traditional art criticism.This book has wonderful photographs of Cornells work; and functions well as criticism; as biography; and as a thought-provoking piece on Cornells curious place in the art world. If one is familiar with Cornells work; this is a fascinating inroad further into its meaning. If one is; as I am; less a hard-core Cornell devotee than one who has encountered his work relatively recently; this is a well-done introduction to his art and thinking. The book is relatively free of that self-serving "look how smart the critic is" art talk that besieges so much of this genre. Despite my quibbles about its "flaws"; I highly recommend this book.