Best Selling Books by William D Wixom

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release date: Apr 01, 1997
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The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843-1261
Covering the art of the Middle Byzantine period (843-1261 AD), this book demonstrates its wide diversity and influence through 17 scholarly essays. These are accompanied by descriptions and colour reproductions of over 400 objects, as well as pictures of architectural sites all over Eastern Europe.
release date: Oct 11, 1999
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Tilman Riemenschneider: Master Sculptor of the Late Middle Ages
The sculpture of Tilman Riemenschneider stands at the threshold of two eras. Solidly anchored in the late Gothic tradition, it is also astonishingly daring. Riemenschneider, who was active in Wurzburg from around 1483 until 1531, was one of the first sculptors to abandon polychromy on occasion, making a conscious aesthetic decision to leave visible his favored material, limewood. His sculpture strikes a rare balance between formal elegance and expressive strength, and it is among the most appealing work of the late Middle Ages.

The approximately fifty works documented in this handsome volume offer a fresh look at this great master. The book presents a broad survey of Riemenschneider's oeuvre, including representative work from all periods of his career. Contributors explore the sources for his art, his social millieu and the organization of his workshop, the critical reception of his work, his polychrome and monochrome sculpture. Photographs commissioned especially for the book present the great altarpieces in Rothenburg on the Tauber, Creglingen, and Maidbronn as well as the large stone sculpture in Wurzburg. The book is the first publication in English with color reproductions of a significant portion of Riemenschneider's oeuvre.

release date: Feb 15, 1997
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Inherently Safer Chemical Processes: A Life Cycle Approach (A CCPS Concept Book)
Many traditional routes to safer processes add complex layers--systems that must actively intervene, or that require special operating procedures to avert a catastrophe. Inherently safer concepts provide risk reduction as a built-in characteristic of the process. This book, which includes a foreword by internationally noted safety expert and the originator of the inherently safer concept Trevor Kletz, presents the principles and strategies for applying inherently safer thinking from the start of the life cycle to the very end.
release date: Jul 14, 2020
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The Metropolitan Museum of Art Bulletin Winter 2002: Picturing the Apocalypse: Illustrated Leaves from a Medieval Spanish Manuscript
Winter 2002 edition of the Bulletin of The Metropolitan Museum of Art. Discusses leaves from a medieval Spanish manuscript relating to the Apocalypse of St. John. Director's note by Philippe de Montebello. Color and black and white illustrations throughout. 56 pages. stiff paper wrappers. 4to.
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release date: Jul 14, 2020
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Renaissance bronzes from Ohio collections: [exhibition]
Book by Wixom, William D
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release date: Mar 01, 1999
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Mirror of the Medieval World
The years 1978 and 1979 were auspicious ones for The Metropolitan Museum of Art: Philippe de Montebello became its Director and William D. Wixom its Chairman of the Department of Medieval Art and The Cloisters. By then, the Museum's two collections of medieval art jointly encompassed outstanding examples of metalwork, illuminated manuscripts, stained-glass panels, limestone and wood sculptures, textiles, and jewelry (both secular and religious), these items dating from the second century B.C. until well into the sixteenth century. During the ensuing years, under the keen eye and connoisseurship of the chairman and his curatorial staff, and supported enthusiastically by the new administration, the department's holdings grew considerably.

Highlighted in these pages--and in an accompanying exhibition that allows the public to savor many of the works at first hand--are more than 300 purchases and gifts. Although a great majority of the objects have been on view and have figured in various Metropolitan Museum publications over the last two decades, many works have remained unpublished until now. Following a Foreword by the Director, the Introduction by William D. Wixom provides an overview of the enrichment of the collections under his stewardship. The reader then discovers how lacunae were filled, as highly significant examples of the art of the Middle Ages took their place among others with equally impressive provenances.

The catalogue entries, which focus on more than 200 of the most important objects arranged chronologically by type and date, were written by present as well as former curators in the Department of Medieval Art, all recognized as experts in a particular period or field. Large color illustrations of the works, often shown in multiple views, accompany extensive documentation, including provenances, former collection and exhibition histories, notes and bibliographic references. The book concludes with a Selected Bibliography and an Index.

For those unaware of the richness and quality of the medieval treasures available for edification and enjoyment in New York's foremost museum, this volume offers an exciting introduction; for students and scholars of medieval art, it presents the opportunity to take an armchair tour of old favorites encountered on past visits to the Metropolitan's galleries and to become acquainted with the many splendid additions.

292 pages, 9 x 12 in., with 435 illustrations, 110 in color

release date: Jul 14, 2020
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Picturing the Apocalypse: Illustrated Leaves from a Medieval Spanish Manuscript (The Metropolitan Museum of Art Bulletin, Winter 2002, Volume LIX, No. 3)
Focuses on a single work: The Beatus Manuscripts of the tenth to the thirteenth century. Glossy pictorial cover and extensively illustrated. 56 pages; Notes. References. Includes section on techniques and materials of the Beatus, with conservation illustrations. The Metropolitan Museum of Art Bulletin, Winter 2002, Volume LIX, No. 3.
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release date: Sep 03, 2013
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Gothic and Renaissance Art in Nuremberg, 1300–1550

Both this book and the exhibition, Gothic and Renaissance Art in Nuremberg, document the artistic vitality of one of the most influential urban centers in Europe to arise at the end of the Middle Ages. The selection of specific works of art, and the essays that illuminate them, give a clear focus to the period from the fourteenth through the first half of the sixteenth century. This was a transitional and pivotal time for Nuremberg in its evolution from an important but artistically self-contained Late Gothic town to a Renaissance city, whose artistic, humanistic, technological, and scientific endeavors were of far-reaching consequence. The production of works of art—including some of the highest moments of human achievement—paralleled the city's strengthening commercial position. The benevolent yet firm hand of a patrician government produced a stable environment, while members of the great families became the leading patrons.

The present occasion is a special "first" in several respects. Never before has such a constellation of fine Medieval and Renaissance objects been permitted to leave Germany for exhibition in the United States. This event provides the American public with a unique opportunity to study and enjoy a historic sampling of Nuremberg's past. Included here are objects created by important anonymous masters, such as the so-called "Hansel" Fountain Figure and the Schlüsselfelder Ship, along with major groups of works by such celebrated Nuremberg artists as Veit Stoss, Albrecht Dürer, Hans Suess von Kulmbach, Hans Baldung Grien, Peter Vischer the Elder and his sons, and Peter Flötner. Much of this art, which belongs to the museums and churches of Nuremberg, and to the city itself, is the nucleus of both this catalogue and the exhibition that it accompanies.

The exhibition, likewise, is an especially valuable event for the Nuremberg public, who will see assembled in its city many well-known masterpieces that, over the centuries, have been dispersed to such far-flung locations as Aachen, Baltimore, Berlin, Boston, Cleveland, Detroit, Dublin, London, Oxford, Paris, and Vienna.

While there have been other efforts, both by way of publications and exhibitions, to examine significant portions of the art and culture of Nuremberg's history—the most recent being Jeffrey Chipps Smith's excellent Nuremberg, A Renaissance City, 1500–1618, Austin, The University of Texas, 1983—the direction that the current project has taken, from its inception in 1982, has centered upon the inclusion of the widest possible range of works of art, diversified both in medium and in function, from the Late Gothic and the Renaissance periods (1300–1550), closing with examples by Peter Flötner and mid-sixteenth-century arms and armor. The result is unprecedented for its comprehensiveness.

Another milestone of Gothic and Renaissance Art in Nuremberg is that it represents the remarkable international collaboration between the Germanisches Nationalmuseum and The Metropolitan Museum of Art. The project, initiated by the Metropolitan Museum but quickly augmented and given impetus by the museum in Nuremberg, has been formed, carried forward, and refined by the two curators-in-charge, Rainer Kahsnitz and William D. Wixom. The selection of subjects and objects is theirs. This effort has resulted in a valuable overview of many aspects of the theme of the exhibition and, at the same time, has led to intelligent reappraisals of a number of unfamiliar—as well as familiar—works of art. [This book was originally published in 1986 and has gone out of print. This edition is a print-on-demand version of the original book.]

release date: Jun 01, 1981
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The Royal Abbey of Saint-Denis in the Time of Abbot Suger (1122-1151)

The French Revolution not only deposed the monarchy, putting an end to the “ancien regime,” but its vengeful fires destroyed thousands of chateaux, the symbols—and residences—of the upper classes. The anticlerical wrath of the Revolutionists also brought about the devastation of many churches: sculptured facades were defaced, stained-glass windows shattered, and treasuries ransacked and their contents scattered. Ironically, it was these outrageous acts of the populace and the neglect of the Commune that—almost two hundred years later—would enable The Metropolitan Museum of Art to mount two exhibitions in as many years, presenting the Museum’s visitors with major aspects of two of the most glorious monuments of the Gothic period, the cathedral of Notre-Dame de Paris and the Royal Abbey of Saint-Denis (designated a cathedral in 1966). [This book was originally published in 1981 and has gone out of print. This edition is a print-on-demand version of the original book.]

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release date: Jul 14, 2020
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Treasures from medieval France,
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