David Finn Bücher

The human form has inspired some of the finest sculptures in art history, evoking complex reactions in viewers. Magnificent nude sculptures by artists like Michelangelo, Rodin, and Henry Moore elicit awe for their beauty and power, while also stirring emotions akin to those felt when encountering an unclothed body. This remarkable work offers a visual survey of nude sculpture across the ages, complemented by an insightful essay by critic Vicki Goldberg, exploring our varied responses to this realistic art form. While photographs can create distance from the artworks they depict, they also reveal intricate details that allow us to appreciate nude sculptures in fresh and unexpected ways. Photographer David Finn, known for transforming our perspective on art in his Abrams' How-to-Look-at titles, provides stunning images that illuminate the sculptor's creative process and highlight the presence, texture, and detail that contribute to the elegance and majesty of fine sculpture. Finn's acclaimed photography has enhanced several books on Italian Renaissance and contemporary sculpture. Vicki Goldberg has extensively covered art and photography for major publications, adding depth to the discussion of our engagement with these timeless works. The book features 200 duotone photographs, measuring 9 x 11 7/8".

In this book, the most powerful and the most moving scenes and fragments from this monumental body of work are displayed. The spirit of the time in which these works were produced, their meaning for the citizens of Athens, the methods by which they were made, the fine points of technique and illusion they conceal, the historical background, and the message contained in the myths they portray are some of the topics covered in the narrative introduction.

Describes the qualities of great sculpture, looks at famous works from ancient Egypt to the present, and offers tips on their appreciation

Since the 19th century, American business leaders have contributed to the formation of many of the best museums, performance groups and arts foundations. This work examines 29 of these leaders, specifically those active during the last three decades in the Business Committee for the Arts.

This is a meticulously produced monograph on a model of a small stucco that Hartt, a noted authority on Michelangelo, argues is the original model made by the artist for his colossal marble David of 1501-1504 in Florence. The case is not airtight but strong; Hartt draws on a lifetime of looking at Italian art, focusing his knowledge and the indefinable essence of connoisseurship on the 6-inch fragment in a personal, readable text. The photographs of the object by David Finn are excellent, as are the comparative plates. A book about Michelangelo, but also about seeing itself.