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Andrew Graham-Dixon has written a number of books about art and artists. His earliest book, Howard Hodgkin , was the first monograph on one of the leading painters of today. It was followed by A History of British Art , Paper Museum , an anthology of articles published in the Independent, a book about the Renaissance and In the Picture , an anthology of articles published between and in the Sunday Telegraph.
- Caravaggio: A Life Sacred And Profane
- Caravaggio: A Life Sacred and Profane For Kindle
- Sex, murder and chiaroscuro (Review of 'Caravaggio: A Life Sacred and Profane', A. Graham-Dixon)
- Discover Caravaggio’s Rome with Andrew Graham-Dixon
The ancient city of Rome plays host to some of the most important art collections in the world. It was also where the painter Michelangelo Merisi da Caravaggio settled during his twenties, having left Milan under a cloud after wounding a police officer.
Caravaggio's art is made from darkness and light. His pictures present spotlit moments of extreme and often agonised human experience. A man is decapitated in his bedchamber, blood spurting from a deep gash in his neck. A man is assassinated on the high altar of a church.
Caravaggio: A Life Sacred And Profane
Andrew Graham-Dixon has written a number of books about art and artists. His earliest book, Howard Hodgkin , was the first monograph on one of the leading painters of today. It was followed by A History of British Art , Paper Museum , an anthology of articles published in the Independent, a book about the Renaissance and In the Picture , an anthology of articles published between and in the Sunday Telegraph. Andrew most recent book is a biography of Caravaggio.
Published by Penguin Books in July , it was shortlisted for the Samuel Johnson Prize for non-fiction and has recently been released in America, published by Norton.
Andrew's latest book Caravaggio: A Life Sacred and Profane , is available in all good bookshops but if you would like your own signed copy, Andrew will be happy to oblige.
He will even dedicate the book to your loved one of choice, so long as you let us know their name! Simply click on the Buy Book button next to the book you want and then you will be able to add any message and get a signed copy. Michelangelo Merisi da Caravaggio lived the darkest and most dangerous life of any of the great painters.
The worlds of Milan, Rome and Naples through which Caravaggio moved and which Andrew Graham-Dixon describes brilliantly in this book, are those of cardinals and whores, prayer and violence. To order a copy please click here. It is a thrilling lesson in the art of seeing, a sensual exploration of the shadows of Caravaggio's sometimes violent but always Christian world, a detective story with a highly satisfying ending. Andrew Graham-Dixon's ability to have a reader see a painting through written language is a rare and precious gift.
The book's rigour and integrity are obvious. I trusted every word and was sorry to turn the final page. This is what makes Graham-Dixon brilliant: he is able to look at a picture painted years ago and extract from it all those meanings that have been obscured by time.
Impressively knowledgeable and well written. He avoids jargon in his writing and is an entertaining art historian, as shown by his popular television series on Spanish and Russian art, and by his weekly art criticism.
He took ten years to come to terms with a very obdurate and highly original painter. Time well spent. Five hundred years ago the legendary Renaissance genius, Michelangelo , put the first brushstroke to his most ambitious creation. As he started work on his vast fresco cycle for the ceiling of the Sistine Chapel, in the autumn of , he began putting into pictures the awe-inspiring legends recounted in the Book of Genesis.
But for the viewer looking up into Michelangelo's painted sky, with its visions of an elemental universe, this was to be just the first of a series of unprecedentedly original images. These depictions of swooping, gesticulating, flying, muscular figures reach their climax in The Creation of Adam - a depiction of the very origins of Man that has been rightly celebrated, for centuries, as the quintessential masterpiece of the Renaissance.
Yet the painting of the Sistine Chapel, for all its magnificence, came at a considerable human cost. It would take Michelangelo four years of long and bitter toil to complete his masterpiece, goaded all the while by his volatile, impatient patron, Julius II - known as the "Warrior Pope", in allusion both to his military conquests and aggressive temperament.
The two men came to blows on more than one occasion, the artist harbouring a lifelong grudge over the abuse of what his friend and biographer Giorgio Vasari called his "divine genius", not to mention the damage the labours caused to his eyes, neck and back.
In his new study of Michelangelo's work in the Sistine Chapel, Andrew Graham-Dixon tells the fascinating human story behind its creation.
He analyses its many layers of meaning and teases out the multitude of ambiguities that lurk within its imagery of timeless magnificence. This is a retelling of the story of the Sistine Chapel for modern times, and an essential companion guide for one of the artistic wonders of the world. Time and again while reading this book I found myself looking with fresh eyes at a detail of the ceiling, prompted by an arresting phrase or astute observation This is art history at its best: clear, exciting, well-informed.
But more than this, he reveals Michelangelo the man - an achievement which ultimately proves even more rewarding. Andrew Graham-Dixon's weekly column "In the Picture" in the "Sunday Telegraph" is one of the most regularly and widely read pieces of art criticism in Britain. This book takes 52 of the best of these articles, arranged through the seasons, festivals and anniversaries of the calendar, the provide a pictorial commentary on the year.
The essays provided offer a short introduction to each. Howard Hodgkin is now being acknowledged as one of the great painters of modern times and one of the most inventive and original colourists of the 20th century.
His paintings exist at the margin between representation and abstraction, bright mosaics shot through with hints and suggestions and glimmerings of recognisable form. They are intelligent objects, constantly in dialogue with the art of the past, but they wear their learning lightly.
The cryptic intensity of Hodgkin's art stems from the artist's self-confessed desire to be true to his feelings, to embody his passions and fears, his aspirations and his anxieties, in the medium of oil paint. The humanity of his art is both touching and profound. Andrew Graham-Dixon's study of Hodgkin's work is written in a free and discursive spirit. It investigates Hodgkin's rich and complex art through its guiding themes and elucidates the passions and preoccupations that lie behind the paintings.
Avoiding the chronological plod of many monographs, the book focuses on the essence of Hodgkin's paintings as the author explores their themes and strategies in great detail. He examines Hodgkin's complex use of scale and colour, the nature of his pictorial language, the frequent eroticism of his art and the notions of time and of experience that it embodies - and finds a tension in the work between exuberance and melancholy.
Graham-Dixon argues that Hodgkin is a classic modern painter, but in an old-fashioned sense; an artist who meets Baudelaire's call for "a painter of modern life".
Hodgkin stands confirmed by this richly illustrated study as one of the most remarkable painters of human experience, an artist whose achievement is to have created equivalents, in painting, for the texture of memory itself. Andrew Graham-Dixon has been the art critic of "The Independent" since the newspaper was launched in Every other author to write about Hodgkin will forever be in Graham-Dixon's debt.
A History of British Art begins with the unpromising acknowledgment that "the British are a tribe of writers, not painters In tracing "the nation's love-hate relationship with art" and the recurrent "iconophobia" which has often literally done such damage to British art, Graham-Dixon offers a refreshing perspective on a surprisingly neglected topic. Beginning with a consideration of what remains of a Catholic, pre-Reformation tradition in 15th-century English architecture and church art, Graham-Dixon reassesses the bad press accorded the Tudors.
He offers illuminating accounts of the paradoxical embrace of Holbein and Van Dyck by the English court, Holbein in particular exemplifying English values of "common sense, precision, empiricism, determination, a capacity for inward reflection and a strong consciousness of responsibility. There are fine sections on the radical nature of Constable and Turner, the turn away from their innovations by the Victorians and the complex, often painful reception of modernism into the mainstream of 20th-century British art from Wyndham Lewis to Damien Hirst.
Overall, this is an elegant and readable overview of British art. What is winning and very British is Graham-Dixon's gift for turning out memorable remarks in an understated style He charms the reader to think, to look again and to rethink, above all to take seriously his central thesis that the British are a profoundly visual people. This man thinks along fresh and original lines and he's also a first-class writer.
Graham-Dixon selects and plants his words with edgy refinement. He is incapable of cliche. Art critics who write for the daily or weekly press fall into three categories.
The well-informed, up-to-the-minute art journalist provides a useful, thorough and objective surbey of events in galleries and museums, describing and assessing strengths and weaknesses on a broad front. The more partisan critic is politically, socially or aesthetically committed to particular areas of interest or even a specific approach to art. The trouble here is that intellectual 'commitment' can degenerate fast into promotion and become a real bore - and even a tissue of distortions or half-truths, in which everything that isn't a socially or politically correct swan is a duck to be shot on sight As a critic, Graham-Dixon comes into a third category, exemplified in the US by Robert Hughes, whose astringent views on contemporary art and its attendant lunacies are so diverting to read in Time magazine and occasional books.
This category consists of a small number of freely speculative, broadly cultivated and independent thinkers who can write well-constructed essays on a variety of subjects involving some original thinking These richly speculative and original essays on British art are full of good things Graham-Dixon has been billed as the new Kenneth Clark, but a more apt comparison would be with John Berger What he has given us is a history of British art that looks at ashes as well as phoenixes.
The Renaissance was one of the great periods of creative and intellectual achievement. This age of genius, from its origins in the thirteenth century to its zenith in sixteenth-century Rome, produced some of the most dynamic and fascinating artists of all time - Donatello, Michelangelo, Raphael, Titian and Leonardo da Vinci. In his adventurous new book, lavishly illustrated with colour illustrations, Andrew Graham-Dixon takes a fresh look at this most exciting period in art history, challenging many of the myths and misconceptions surrounding the Renaissance.
The Italian scholars who first dreamed of a Renaissance wished to revive the spirit of classical antiquity after the darkness - as they saw it - of the medieval and Byzantine periods. Graham-Dixon argues, however, that the Renaissance represented a culmination rather than rejection of those influences.
Starting in the Middle Ages with the impact of the Franciscan movement on painting in Italy, Graham-Dixon's reappraisal of the Renaissance takes us through the key moments of its development, focusing on the major artists and architects of the time: the early Renaissance in Florence - Giotto, Masaccio, Donatello, and Brunelleschi; the Northern Renaissance - Durer, Cranach and Bruegel Renaissance also outlines the historical context of of this time of great social as well asa artistic change - the power struggles between the Renaissance rulers of Italy's city-states, the French invasions of Italy, the Protestant Reformation, the rise of humanism, the invention of printing.
All in all, this is the most thoguth-provoking and illuminating one-volume account of the Renaissance since the time of Jacob Burckhardt. If you have a question, a comment or would like to book Andrew for an event, a tour or consultation complete the contact form below.
We may use your data to personalise and improve your experience on his website, and provide products and services that are relevant to you. Home Books. The Author Andrew Graham-Dixon has written a number of books about art and artists. How to get your own signed copies? Caravaggio - A Life Sacred and Profane Michelangelo Merisi da Caravaggio lived the darkest and most dangerous life of any of the great painters.
Read Extract Buy Book. Michelangelo And The Sistine Chapel Five hundred years ago the legendary Renaissance genius, Michelangelo , put the first brushstroke to his most ambitious creation.
Read Extract. Howard Hodgkin Howard Hodgkin is now being acknowledged as one of the great painters of modern times and one of the most inventive and original colourists of the 20th century. Renaissance The Renaissance was one of the great periods of creative and intellectual achievement.
Home Profile Archive Broadcasts. Andrew Graham-Dixon.
Caravaggio: A Life Sacred and Profane For Kindle
Search this site. The worlds of Milan, Rome and Naples through which Caravaggio moved and which Andrew Graham-Dixon describes brilliantly in this book, are those of cardinals and whores, prayer and violence. On the streets surrounding the churches and palaces, brawls and swordfights were regular occurrences. In the course of this desperate life Caravaggio created the most dramatic paintings of his age, using ordinary men and women - often prostitutes and the very poor - to model for his depictions of classic religious scenes. Andrew Graham-Dixon's exceptionally illuminating readings of Caravaggio'spictures, which are the heart of the book, show very clearly how he created their drama, immediacy and humanity, and how completely he departed from the conventions of his time. A Nobody's Dream A Viable Suspect: The Story of multiple murders and how a police force's reach proved too short for Canada's most notorious cold case.
Caravaggio was a controversial and influential Italian artist. He was orphaned at age 11 and apprenticed with a painter in Milan. He moved to Rome, where his work became popular for the tenebrism technique he used, which used shadow to emphasize lighter areas. His career, however, was short-lived. Caravaggio killed a man during a brawl and fled Rome.
Sex, murder and chiaroscuro (Review of 'Caravaggio: A Life Sacred and Profane', A. Graham-Dixon)
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Экран монитора был погашен, но она понимала, что он не заперт: по краям экрана было видно свечение. Криптографы редко запирали свои компьютеры, разве что покидая Третий узел на ночь. Обычно они лишь уменьшали их яркость; кодекс чести гарантировал, что никто в их отсутствие к терминалу не прикоснется. К черту кодекс чести, - сказала она. - Посмотрим, чем ты тут занимаешься.
Discover Caravaggio’s Rome with Andrew Graham-Dixon
Произошло нечто непредвиденное. - Танкадо мертв. - Да, - сказал голос. - Мой человек ликвидировал его, но не получил ключ. За секунду до смерти Танкадо успел отдать его какому-то туристу.
Вовсе нет, - ответила Мидж. - Хотела бы, но шифровалка недоступна взору Большого Брата. Ни звука, ни картинки. Приказ Стратмора. Все, что я могу, - это проверить статистику, посмотреть, чем загружен ТРАНСТЕКСТ.
Фонтейн кивнул. Агенты связались с ним, когда он находился в Южной Америке, и сообщили, что операция прошла неудачно, поэтому Фонтейн в общих чертах уже знал, что случилось. Тут вступил агент Колиандер: - Как вы приказали, мы повсюду следовали за Халохотом. В морг он не пошел, поскольку в этот момент напал на след еще какого-то парня в пиджаке и галстуке, вроде бы штатского. - Штатского? - переспросил Фонтейн. Скорее всего это игры Стратмора: он мудро решил не впутывать в это дело агентство. - Фильтры Протокола передачи файлов выходят из строя! - крикнул кто-то из технического персонала.
Michelangelo Merisi da Caravaggio lived the darkest and most dangerous life of any of the great painters. The worlds of Milan, Rome, and, Naples through.
И все внимательно смотрели на. У всех сегодня красно-бело-синие прически. Беккер потянулся и дернул шнурок вызова водителя. Пора было отсюда вылезать. Дернул. Никакой реакции.
Сверху раздался душераздирающий крик Стратмора. ГЛАВА 86 Когда Сьюзан, едва переводя дыхание, появилась в дверях кабинета коммандера, тот сидел за своим столом, сгорбившись и низко опустив голову, и в свете монитора она увидела капельки пота у него на лбу. Сирена выла не преставая. Сьюзан подбежала к. - Коммандер. Стратмор даже не пошевелился.
Стратмор его не слушал. Если спасение Сьюзан равнозначно крушению его планов, то так тому и быть: потерять ее значило потерять все, а такую цену он отказывался платить. Хейл заломил руку Сьюзан за спину, и голова ее наклонилась.
- Быть может, он не знал, что бомбы были одинаковые. - Нет! - отрезала Сьюзан. - Он стал калекой из-за этих бомб. И он знал про них. ГЛАВА 126 - Одна минута.
Через пятнадцать с лишним часов. Стратмор подался вперед и повернул к Сьюзан монитор компьютера. На черном поле светилось небольшое желтое окно, на котором виднелись две строчки: ВРЕМЯ ПОИСКА: 15:09:33 ИСКОМЫЙ ШИФР: Сьюзан недоуменно смотрела на экран.
Сьюзан так и подумала. Старшие должностные лица АНБ имели право разбираться со своими кризисными ситуациями, не уведомляя об этом исполнительную власть страны. АНБ было единственной разведывательной организацией США, освобожденной от обязанности отчитываться перед федеральным правительством.