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Book
125 pages, XX pages of plates : illustrations (chiefly color) ; 24 cm
Art & Architecture Library
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PQ4595 .P36 2015 Unavailable On order Request
Book
191 p. : ill. (chiefly col.) ; 28 cm
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ND1422 .E85 F35 2014 Unknown

3. Hans Holbein [2014]

Book
406 pages : ill. (some color) ; 22 cm
Hans Holbein the Younger (1497/8 - 1543), one of the most versatile and admired painters of the Northern Renaissance, trained under his father in Augsburg and then worked for leading patrons in Switzerland before settling in England as Court Painter to Henry viii. Holbein was a hugely ambitious artist, and even during his formative years in Lucerne and Basle designed jewellery, stained glass and woodcuts as well as paint major altarpieces and portraits. He also carried out several monumental decorative schemes for private houses and civic buildings. In all his commissions Holbein sought to rival the greatest masters of Germany and Italy - notably Durer and Mantegna - as well as Antiquity, and by the time of his visit to France in 1524 he was determined to secure a position as court painter. This, and the precarious situation he was finding himself in as a result of the Reformation's increasing hostility to religious works, drove him to England for good in 1532, where in addition to decorative schemes and Triumphs he both drew and painted numerous unrivalled likenesses of leading courtiers, merchants and diplomats, among which is his celebrated double portrait 'The Ambassadors'. This acclaimed, richly illustrated book by Oskar Batschmann and Pascal Griener - now available in a revised and expanded Second Edition - is a major advance in our understanding of Holbein's contribution to European art. The authors re-examine every aspect of a remarkable career, in which they take full account of the artistic and cultural influences that affected the artist and of his friendships with leading humanists such as Erasmus and Sir Thomas More, and cast fresh light on many hitherto vexing questions and misunderstandings.
(source: Nielsen Book Data)
Hans Holbein the Younger (1497/8 - 1543), one of the most versatile and admired painters of the Northern Renaissance, trained under his father in Augsburg and then worked for leading patrons in Switzerland before settling in England as Court Painter to Henry viii. Holbein was a hugely ambitious artist, and even during his formative years in Lucerne and Basle designed jewellery, stained glass and woodcuts as well as paint major altarpieces and portraits. He also carried out several monumental decorative schemes for private houses and civic buildings. In all his commissions Holbein sought to rival the greatest masters of Germany and Italy - notably Durer and Mantegna - as well as Antiquity, and by the time of his visit to France in 1524 he was determined to secure a position as court painter. This, and the precarious situation he was finding himself in as a result of the Reformation's increasing hostility to religious works, drove him to England for good in 1532, where in addition to decorative schemes and Triumphs he both drew and painted numerous unrivalled likenesses of leading courtiers, merchants and diplomats, among which is his celebrated double portrait 'The Ambassadors'. This acclaimed, richly illustrated book by Oskar Batschmann and Pascal Griener - now available in a revised and expanded Second Edition - is a major advance in our understanding of Holbein's contribution to European art. The authors re-examine every aspect of a remarkable career, in which they take full account of the artistic and cultural influences that affected the artist and of his friendships with leading humanists such as Erasmus and Sir Thomas More, and cast fresh light on many hitherto vexing questions and misunderstandings.
(source: Nielsen Book Data)
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N6888 .H664 B38 2014 Unknown

4. Paolo Veronese [2014]

Book
351 pages : illustrations ; 34 cm
Here is a glorious survey of the work of Paolo Veronese (1528-1588), one of the most prolific and successful painters of the Italian late Renaissance. Together with Titian and Tintoretto, he is associated with some of the greatest Venetian art of the 16th century. Working in a dramatic Mannerist style early in his career, Veronese quickly gained a reputation for his dignified depictions of classical elegance and grandeur. Known for his enormous feast scenes, frescoes and ceiling paintings, Veronese refined the use of colour to enhance his illusionistic effects: he has been called the greatest colourist who ever lived. In Venice, Veroneses mural and ceiling decorations for the Church of San Sebastiano, the Doges Palace and the Marciana Library earned him early acclaim. His later work became sought more widely: Velazquez purchased two mythologies for the Spanish Royal Collection.
(source: Nielsen Book Data)
Here is a glorious survey of the work of Paolo Veronese (1528-1588), one of the most prolific and successful painters of the Italian late Renaissance. Together with Titian and Tintoretto, he is associated with some of the greatest Venetian art of the 16th century. Working in a dramatic Mannerist style early in his career, Veronese quickly gained a reputation for his dignified depictions of classical elegance and grandeur. Known for his enormous feast scenes, frescoes and ceiling paintings, Veronese refined the use of colour to enhance his illusionistic effects: he has been called the greatest colourist who ever lived. In Venice, Veroneses mural and ceiling decorations for the Church of San Sebastiano, the Doges Palace and the Marciana Library earned him early acclaim. His later work became sought more widely: Velazquez purchased two mythologies for the Spanish Royal Collection.
(source: Nielsen Book Data)
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ND623 .V5 Z3613 2014 F Unknown
Book
xvi, 257 pages, 16 unnumbered pages of plates : illustrations ; 24 cm.
  • Contents: Preface-- Introduction-- The 'pregnant' Magdalene, bride of Christ: Rogier van der Weyden's Descent from the Cross-- The wise and foolish Magdalene: Rogier van der Weyden's Braque Triptych-- The engaging Magdalene: Quentin Massys' Mary Magdalene Opening her Jar-- The lovesick Magdalene: the Master of the Female Half-lengths and Jan van Hemessen's musical Magdalenes-- The melancholic Magdalene: Adriaen Isenbrant and the Master of the Female Half-lengths' landscape Magdalenes-- Conclusion-- Bibliography-- Index.
  • (source: Nielsen Book Data)
Examining innovations in Mary Magdalene imagery in northern art 1430 to 1550, Penny Jolly explores how the saint's widespread popularity drew upon her ability to embody oppositions and embrace a range of paradoxical roles: sinner-prostitute and saint, erotic seductress and holy prophet. Analyzing paintings by Rogier van der Weyden, Quentin Massys, and others, Jolly investigates artists' and audiences' responses to increasing religious tensions, expanding art markets, and changing roles for women.Using cultural ideas concerning the gendered and pregnant body, Jolly reveals how dress confirms the Magdalene's multivalent nature. In some paintings, her gown's opening laces betray her wantonness yet simultaneously mark her as Christ's spiritually pregnant Bride; elsewhere 'undress' reconfirms her erotic nature while paradoxically marking her penitence; in still other works, exotic finery expresses her sanctity while celebrating Antwerp's textile industry. New image types arise, as when the saint appears as a lovesick musician playing a lute or as a melancholic contemplative, longing for Christ. Some depictions emphasize her intercessory role through innovative pictorial strategies that invite performative viewing or relate her to the mythological Pandora and Italian Renaissance Neoplatonism. Throughout, the Magdalene's ambiguities destabilize readings of her imagery while engaging audiences across a broad social and religious spectrum.
(source: Nielsen Book Data)
  • Contents: Preface-- Introduction-- The 'pregnant' Magdalene, bride of Christ: Rogier van der Weyden's Descent from the Cross-- The wise and foolish Magdalene: Rogier van der Weyden's Braque Triptych-- The engaging Magdalene: Quentin Massys' Mary Magdalene Opening her Jar-- The lovesick Magdalene: the Master of the Female Half-lengths and Jan van Hemessen's musical Magdalenes-- The melancholic Magdalene: Adriaen Isenbrant and the Master of the Female Half-lengths' landscape Magdalenes-- Conclusion-- Bibliography-- Index.
  • (source: Nielsen Book Data)
Examining innovations in Mary Magdalene imagery in northern art 1430 to 1550, Penny Jolly explores how the saint's widespread popularity drew upon her ability to embody oppositions and embrace a range of paradoxical roles: sinner-prostitute and saint, erotic seductress and holy prophet. Analyzing paintings by Rogier van der Weyden, Quentin Massys, and others, Jolly investigates artists' and audiences' responses to increasing religious tensions, expanding art markets, and changing roles for women.Using cultural ideas concerning the gendered and pregnant body, Jolly reveals how dress confirms the Magdalene's multivalent nature. In some paintings, her gown's opening laces betray her wantonness yet simultaneously mark her as Christ's spiritually pregnant Bride; elsewhere 'undress' reconfirms her erotic nature while paradoxically marking her penitence; in still other works, exotic finery expresses her sanctity while celebrating Antwerp's textile industry. New image types arise, as when the saint appears as a lovesick musician playing a lute or as a melancholic contemplative, longing for Christ. Some depictions emphasize her intercessory role through innovative pictorial strategies that invite performative viewing or relate her to the mythological Pandora and Italian Renaissance Neoplatonism. Throughout, the Magdalene's ambiguities destabilize readings of her imagery while engaging audiences across a broad social and religious spectrum.
(source: Nielsen Book Data)
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ND1432 .F57 J65 2014 Unknown
Book
367 p. : ill. (chiefly col.) ; 30 cm
In 1956, Palazzo Strozzi hosted the exhibition Pontormo and Early Florentine Mannerism, in which Pontormo's work was displayed alongside that of Rosso Fiorentino, Beccafumi and other adepts of the new and unconventional trend in painting. Almost sixty years later, Palazzo Strozzi has decided to hold an exhibition devoted to only two of that movement's leading lights, Pontormo and Rosso Fiordentino. They were both born in 1494, at the close of a century which had seen the collapse of a political balance that has guaranteed the prosperity and security of Florence and of Italy as a whole, and at the start of a troubled era of religious and political unrest that was to lead to a definitive alteration of the political balances among states, and to the loss of the harmony and balance in art that had been such a feature of the transition from the 15th to the 16th century. In exploring the work of the two greatest Florentine exponents of what 20th-century critics christened Mannerism, the exhibition, and this accompanying volume, aims to track the chronological development of the movement. With essays by Philippe Costamagna, Elizabeth Cropper, Carlo Falciani, Massimo Firpo, Tommaso Mozzati, Antonio Natali, Alessandro Nova, Massimiliano Rossi, and with entries by Grazia Badino, Andrea Baldinotti, Elena Capretti, Philippe Costamagna, Francesca De Luca, Carlo Falciani, Giovanni Maria Fara, David Franklin, Cristina Gelli, Antonio Geremicca, Giovanna Giusti, Sefy Hendler, Andrea Muzzi, Carol Plazzotta.
(source: Nielsen Book Data)
In 1956, Palazzo Strozzi hosted the exhibition Pontormo and Early Florentine Mannerism, in which Pontormo's work was displayed alongside that of Rosso Fiorentino, Beccafumi and other adepts of the new and unconventional trend in painting. Almost sixty years later, Palazzo Strozzi has decided to hold an exhibition devoted to only two of that movement's leading lights, Pontormo and Rosso Fiordentino. They were both born in 1494, at the close of a century which had seen the collapse of a political balance that has guaranteed the prosperity and security of Florence and of Italy as a whole, and at the start of a troubled era of religious and political unrest that was to lead to a definitive alteration of the political balances among states, and to the loss of the harmony and balance in art that had been such a feature of the transition from the 15th to the 16th century. In exploring the work of the two greatest Florentine exponents of what 20th-century critics christened Mannerism, the exhibition, and this accompanying volume, aims to track the chronological development of the movement. With essays by Philippe Costamagna, Elizabeth Cropper, Carlo Falciani, Massimo Firpo, Tommaso Mozzati, Antonio Natali, Alessandro Nova, Massimiliano Rossi, and with entries by Grazia Badino, Andrea Baldinotti, Elena Capretti, Philippe Costamagna, Francesca De Luca, Carlo Falciani, Giovanni Maria Fara, David Franklin, Cristina Gelli, Antonio Geremicca, Giovanna Giusti, Sefy Hendler, Andrea Muzzi, Carol Plazzotta.
(source: Nielsen Book Data)
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ND623 .P8 A4 2014 F Unknown
Book
179 pages : illustrations (chiefly color) ; 31 cm
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See circulation desk for access
ND615 .S47 2014 F Unknown
Book
2 volumes (856 pages) : illustrations (chiefly color), color maps ; 30 cm.
  • [v.1] Pages 1-424
  • [v.2] Pages 425-856.
The National Gallery, London possesses an important collection of paintings by 16th-century Netherlandish artists, including Joachim Beuckelaer, Hieronymus Bosch, Pieter Bruegel the Elder, Jean Gossart, and Quinten Massys. They are grouped here with a small number of French paintings, some by artists who came from the Low Countries (Corneille de Lyon, probably Jean Hey, and perhaps the Master of Saint Giles). Lorne Campbell's catalogue is a model of scholarship; he examined all the pictures with conservators and rigorously researched their histories, subjects, and styles. New discoveries about artists' techniques and practices have led to many reattributions, and the rescue from anonymity of over twenty paintings. The identities of several patrons are established or suggested, while an introductory essay explains how contemporaries regarded these paintings. Generously illustrated, with many details and technical photographs, and beautifully produced, this comprehensive catalogue is essential reading for scholars, while also introducing general readers to a vital part of the Gallery's collection.
(source: Nielsen Book Data)
  • [v.1] Pages 1-424
  • [v.2] Pages 425-856.
The National Gallery, London possesses an important collection of paintings by 16th-century Netherlandish artists, including Joachim Beuckelaer, Hieronymus Bosch, Pieter Bruegel the Elder, Jean Gossart, and Quinten Massys. They are grouped here with a small number of French paintings, some by artists who came from the Low Countries (Corneille de Lyon, probably Jean Hey, and perhaps the Master of Saint Giles). Lorne Campbell's catalogue is a model of scholarship; he examined all the pictures with conservators and rigorously researched their histories, subjects, and styles. New discoveries about artists' techniques and practices have led to many reattributions, and the rescue from anonymity of over twenty paintings. The identities of several patrons are established or suggested, while an introductory essay explains how contemporaries regarded these paintings. Generously illustrated, with many details and technical photographs, and beautifully produced, this comprehensive catalogue is essential reading for scholars, while also introducing general readers to a vital part of the Gallery's collection.
(source: Nielsen Book Data)
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ND635 .N377 2014 F V.1 Unknown
ND635 .N377 2014 F V.2 Unknown
Book
viii, 376 p. : ill. (some col.), ports. ; 30 cm
Paintings by Renaissance masters Lucas Cranach the Elder, Albrecht Durer, and Hans Holbein the Younger are among the works featured in this lavish volume, the first to comprehensively study the largest collection of early German paintings in America. These works, created in the 14th through 16th centuries in the region that comprises present-day Germany, Austria, and Switzerland, include religious images-such as Virgin and Child with Saint Anne by Durer and the double-sided altarpiece The Dormition of the Virgin by Hans Schaufelein-as well as remarkable portraits by Holbein and the iconic Judgment of Paris by Cranach. In all, more than 70 works are thoroughly discussed and analyzed, making this volume an incomparable resource for the study of this rich artistic period.
(source: Nielsen Book Data)
Paintings by Renaissance masters Lucas Cranach the Elder, Albrecht Durer, and Hans Holbein the Younger are among the works featured in this lavish volume, the first to comprehensively study the largest collection of early German paintings in America. These works, created in the 14th through 16th centuries in the region that comprises present-day Germany, Austria, and Switzerland, include religious images-such as Virgin and Child with Saint Anne by Durer and the double-sided altarpiece The Dormition of the Virgin by Hans Schaufelein-as well as remarkable portraits by Holbein and the iconic Judgment of Paris by Cranach. In all, more than 70 works are thoroughly discussed and analyzed, making this volume an incomparable resource for the study of this rich artistic period.
(source: Nielsen Book Data)
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ND565 .M48 2013 F Unknown
Book
218 p. : illustrations (some color) ; 27 cm.
  • Mannerism and imitation
  • Gigantum arrogantia: Raphael vs. Michelangelo in Perino del Vaga
  • Daniele da Volterra's contested subject
  • Pellegrino Tibaldi's Apologus Alcinoi
  • Painting and counter-reformation in the Poggi Chapel.
"Explores the imitation of Michelangelo by three artists, Perino del Vaga, Daniele da Volterra, and Pellegrino Tibaldi, from the 1520s to the time around Michelangelo's death in 1564. Argues that his Mannerist followers applied imitation to identify with and/or create ironical distance from to the older artist"--Provided by publisher.
  • Mannerism and imitation
  • Gigantum arrogantia: Raphael vs. Michelangelo in Perino del Vaga
  • Daniele da Volterra's contested subject
  • Pellegrino Tibaldi's Apologus Alcinoi
  • Painting and counter-reformation in the Poggi Chapel.
"Explores the imitation of Michelangelo by three artists, Perino del Vaga, Daniele da Volterra, and Pellegrino Tibaldi, from the 1520s to the time around Michelangelo's death in 1564. Argues that his Mannerist followers applied imitation to identify with and/or create ironical distance from to the older artist"--Provided by publisher.
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ND615.5 .M3 S74 2013 Unknown
Book
130 p. : ill. ; 30 cm.
Rather than as a destructive moment in history, the Iconoclasm of 1566 in the Netherlands was the catalyst for a re-evaluation of (religious) art in the Low Countries. It forced painters to question the very nature of the artistic tradition they grew up in. Is it merely a coincidence that the art markets changed so swiftly after the Fall of Antwerp, that art theory in the Low Countries originated in the wake of Iconoclasm (De Heere, Lampsonius, ...), or that painting in the second half of the sixteenth century saw the impetus of new styles, genres, specialisations (Aertsen, De Beuckelaer, ...)? Iconoclasm forced people to think about art. The generation of painters active in the two decades between the 'Beeldenstorm' and the fall of Antwerp did this by questioning the decorum of the work of their famous predecessors.
Rather than as a destructive moment in history, the Iconoclasm of 1566 in the Netherlands was the catalyst for a re-evaluation of (religious) art in the Low Countries. It forced painters to question the very nature of the artistic tradition they grew up in. Is it merely a coincidence that the art markets changed so swiftly after the Fall of Antwerp, that art theory in the Low Countries originated in the wake of Iconoclasm (De Heere, Lampsonius, ...), or that painting in the second half of the sixteenth century saw the impetus of new styles, genres, specialisations (Aertsen, De Beuckelaer, ...)? Iconoclasm forced people to think about art. The generation of painters active in the two decades between the 'Beeldenstorm' and the fall of Antwerp did this by questioning the decorum of the work of their famous predecessors.
Art & Architecture Library
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ND635 .A78 2012 F Unknown
Book
239 pages : color illustrations ; 28 cm
  • Modernità e meraviglia nell'arte dei Brueghel / Sergio Gaddi
  • La pittura floreale fiamminga / Doron J. Lurie
  • La dinastia dei Brueghel / Klaus Ertz
  • Dalle Fiandre all'Europa: un laboratorio pittorico / Giovanni C.F. Villa
  • Pieter Bruegel il Vecchio, un "secondo Bosch" / Masimiliaan P.J. Marents
  • Funzioni e obblighi della gilda / Nathalie Wiener
  • Il crogiuolo delle meraviglie: genialità e sintesi nell'Anversa di Pieter Brueghel il Vecchio / Massimiliano Caretto, Francesco Occhinegro
  • Connsoisseurship, l'analisi dei materiali dell'opera e l'attribuzione alle scuol del Nord / Jan De Maere
  • Catalogo
  • Disegni.
  • Modernità e meraviglia nell'arte dei Brueghel / Sergio Gaddi
  • La pittura floreale fiamminga / Doron J. Lurie
  • La dinastia dei Brueghel / Klaus Ertz
  • Dalle Fiandre all'Europa: un laboratorio pittorico / Giovanni C.F. Villa
  • Pieter Bruegel il Vecchio, un "secondo Bosch" / Masimiliaan P.J. Marents
  • Funzioni e obblighi della gilda / Nathalie Wiener
  • Il crogiuolo delle meraviglie: genialità e sintesi nell'Anversa di Pieter Brueghel il Vecchio / Massimiliano Caretto, Francesco Occhinegro
  • Connsoisseurship, l'analisi dei materiali dell'opera e l'attribuzione alle scuol del Nord / Jan De Maere
  • Catalogo
  • Disegni.
Art & Architecture Library
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ND673 .B7 A4 2012 Unknown
Book
xi, 251 p. : ill. (some col.) ; 30 cm.
  • Categories and contexts : visual description and the English Reformation
  • Artists and sitters
  • Humility and pride : portraits of merchants and retailers
  • Professional reputations and representation : portraits of physicians, lawyers, clergymen
  • Performance and presence : portraits of poets, playwrights, artists and artisans.
For much of early modern history, the opportunity to be immortalized in a portrait was explicitly tied to social class: only landed elite and royalty had the money and power to commission such an endeavor. But in the second half of the 16th century, access began to widen to the urban middle class, including merchants, lawyers, physicians, clergy, writers, and musicians. As portraiture proliferated in English cities and towns, the middle class gained social visibility-not just for themselves as individuals, but for their entire class or industry. In Citizen Portrait, Tarnya Cooper examines the patronage and production of portraits in Tudor and Jacobean England, focusing on the motivations of those who chose to be painted and the impact of the resulting images. Highlighting the opposing, yet common, themes of piety and self-promotion, Cooper has revealed a fresh area of interest for scholars of early modern British art.
(source: Nielsen Book Data)
  • Categories and contexts : visual description and the English Reformation
  • Artists and sitters
  • Humility and pride : portraits of merchants and retailers
  • Professional reputations and representation : portraits of physicians, lawyers, clergymen
  • Performance and presence : portraits of poets, playwrights, artists and artisans.
For much of early modern history, the opportunity to be immortalized in a portrait was explicitly tied to social class: only landed elite and royalty had the money and power to commission such an endeavor. But in the second half of the 16th century, access began to widen to the urban middle class, including merchants, lawyers, physicians, clergy, writers, and musicians. As portraiture proliferated in English cities and towns, the middle class gained social visibility-not just for themselves as individuals, but for their entire class or industry. In Citizen Portrait, Tarnya Cooper examines the patronage and production of portraits in Tudor and Jacobean England, focusing on the motivations of those who chose to be painted and the impact of the resulting images. Highlighting the opposing, yet common, themes of piety and self-promotion, Cooper has revealed a fresh area of interest for scholars of early modern British art.
(source: Nielsen Book Data)
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ND1314.2 .C66 2012 F Unknown
Book
591 p. : ill. (chiefly col.) ; 29 cm.
Art & Architecture Library
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ND1319.2 .F33 2012 Unknown
Book
x, 145 p. : ill. (some col.), col. maps ; 27 cm.
This book is part of a pan-European research project investigating four Netherlandish paintings from the 16th century, all depicting Christ Driving the Traders from the Temple, and presently in the collections of the Kadriorg Art Museum, Tallinn; National Gallery of Denmark, Copenhagen; Glasgow Museums, and in a private collection. This publication presents the first results of the technical investigation, multispectral analysis and art historical research. The four paintings examined are alike yet different with echoes of Hieronymus Bosch and Pieter Bruegel the Elder. The research project addresses an under-investigated part of 16th- and 17th-century Netherlandish art production that reuses popular imagery from the time of Hieronymus Bosch. The paintings represent four versions of Christ Driving the Traders from the Temple that follow religious and cultural traditions and were made with different purposes, answering to the demands of a booming 16th-century Antwerp art market.
This book is part of a pan-European research project investigating four Netherlandish paintings from the 16th century, all depicting Christ Driving the Traders from the Temple, and presently in the collections of the Kadriorg Art Museum, Tallinn; National Gallery of Denmark, Copenhagen; Glasgow Museums, and in a private collection. This publication presents the first results of the technical investigation, multispectral analysis and art historical research. The four paintings examined are alike yet different with echoes of Hieronymus Bosch and Pieter Bruegel the Elder. The research project addresses an under-investigated part of 16th- and 17th-century Netherlandish art production that reuses popular imagery from the time of Hieronymus Bosch. The paintings represent four versions of Christ Driving the Traders from the Temple that follow religious and cultural traditions and were made with different purposes, answering to the demands of a booming 16th-century Antwerp art market.
Art & Architecture Library
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ND665 .O5 2012 Unknown
Book
288 p. : ill. (chiefly col.) ; 29 cm.
  • Paolo Caliari: a Veronese painter triumphant in Venice David Rosand
  • Veronese's training, methods, and shop practice Diana Gisolfi
  • Veronese and his patrons Blake de Maria
  • "Abiti gravi, abiti stravaganti": Veronese's creative approach to drapery Rembrandt Duits
  • Veronese's story of the eye Maria H. Loh
  • Veronese in America: collecting and taste Virginia Brilliant
  • The classical tradition: mythology and allegory Inge Reist
  • The portraiture of Veronese John Garton
  • The Bible and the lives of saints Virginia Brilliant
  • Altarpieces and heavenly visions Virginia Brilliant
  • The rest on the flight to Egypt Virginia Brilliant
  • The baptism of Christ Frederick Ilchman
  • The death of Christ Frederick Ilchman
  • The drawings of Veronese John Marciari
  • Veronese and the reproductive print Jonathan Bober
  • "Like a mirror that shows his idea...": interaction in the Veronese workshop Stephen Gritt
  • Materials, technique, and the master's hand: the Seattle Venus and Adonis Nicholas Dorman and Katie Patton.
Paolo Veronese is acknowledged as one of the giants of Venetian Renaissance painting. His artistic production was richly varied, extending from imposing altarpieces to smaller religious paintings for private clients, from grand portraits to sensual episodes drawn from the classical tradition. Veronese was also an outstanding draughtsman, and his graphic oeuvre ranged from preliminary sketches to highly finished chiaroscuro sheets. A foreigner in Venice, he created paintings for Venetian clients and settings, as well for the mainland and export abroad. Thus, Veronese's art was unusually versatile for its time. This magnificently illustrated book will display this extraordinary versatility and examine Veronese's artistic practice, concentrating on works from North American collections. For a sixteenth-century painter, many of whose works are in fresco or on enormous canvases still in situ, Veronese is unusually broadly represented in North America. At the same time, the broad spectrum of Veronese as a painter and draughtsman has not been available to American audiences in over two decades. This publication authored by an international team of experts, will be a major contribution to Veronese studies.
(source: Nielsen Book Data)
  • Paolo Caliari: a Veronese painter triumphant in Venice David Rosand
  • Veronese's training, methods, and shop practice Diana Gisolfi
  • Veronese and his patrons Blake de Maria
  • "Abiti gravi, abiti stravaganti": Veronese's creative approach to drapery Rembrandt Duits
  • Veronese's story of the eye Maria H. Loh
  • Veronese in America: collecting and taste Virginia Brilliant
  • The classical tradition: mythology and allegory Inge Reist
  • The portraiture of Veronese John Garton
  • The Bible and the lives of saints Virginia Brilliant
  • Altarpieces and heavenly visions Virginia Brilliant
  • The rest on the flight to Egypt Virginia Brilliant
  • The baptism of Christ Frederick Ilchman
  • The death of Christ Frederick Ilchman
  • The drawings of Veronese John Marciari
  • Veronese and the reproductive print Jonathan Bober
  • "Like a mirror that shows his idea...": interaction in the Veronese workshop Stephen Gritt
  • Materials, technique, and the master's hand: the Seattle Venus and Adonis Nicholas Dorman and Katie Patton.
Paolo Veronese is acknowledged as one of the giants of Venetian Renaissance painting. His artistic production was richly varied, extending from imposing altarpieces to smaller religious paintings for private clients, from grand portraits to sensual episodes drawn from the classical tradition. Veronese was also an outstanding draughtsman, and his graphic oeuvre ranged from preliminary sketches to highly finished chiaroscuro sheets. A foreigner in Venice, he created paintings for Venetian clients and settings, as well for the mainland and export abroad. Thus, Veronese's art was unusually versatile for its time. This magnificently illustrated book will display this extraordinary versatility and examine Veronese's artistic practice, concentrating on works from North American collections. For a sixteenth-century painter, many of whose works are in fresco or on enormous canvases still in situ, Veronese is unusually broadly represented in North America. At the same time, the broad spectrum of Veronese as a painter and draughtsman has not been available to American audiences in over two decades. This publication authored by an international team of experts, will be a major contribution to Veronese studies.
(source: Nielsen Book Data)
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ND623 .V5 A4 2012 Unknown
Book
xiv, 202 p. : ill ; 24 cm.
  • Introduction
  • English portraiture in context
  • Locating the public
  • Provincial painters
  • Painters' resources: material and cultural
  • Heraldry and portraiture
  • The provincial vocabulary: 'props' and their meaning
  • Varieties of regional experience
  • Conclusion.
Robert Tittler investigates the growing affinity for secular portraiture in Tudor and early Stuart England, a cultural and social phenomenon which can be said to have produced a 'public' for that genre. He breaks new ground in placing portrait patronage and production in this era in the broad social and cultural context of post-Reformation England, and in distinguishing between native English provincial portraiture, which was often highly vernacular, and foreign-influenced portraiture of the court and metropolis, which tended towards the formal and 'polite'. Tittler describes the burgeoning public for portraiture of this era as more than the familiar court-and-London based presence, but rather as a phenomenon which was surprisingly widespread both socially and geographically throughout the realm. He suggests that provincial portraiture differed from the 'mainstream', cosmopolitan portraiture of the day in its workmanship, materials, inspirations, and even vocabulary, showing how its native English roots continued to guide its production. Innovative chapters consider the aims and vocabulary of English provincial portraiture, the relationship of portraiture and heraldry, the painter's occupation in provincial (as opposed to metropolitan) England, and the contrasting availability of materials and training in both provincial and metropolitan areas. The work as a whole contributes to both art history and social history; it speaks to admirers and collectors of painting as well as to curators and academics.
(source: Nielsen Book Data)
  • Introduction
  • English portraiture in context
  • Locating the public
  • Provincial painters
  • Painters' resources: material and cultural
  • Heraldry and portraiture
  • The provincial vocabulary: 'props' and their meaning
  • Varieties of regional experience
  • Conclusion.
Robert Tittler investigates the growing affinity for secular portraiture in Tudor and early Stuart England, a cultural and social phenomenon which can be said to have produced a 'public' for that genre. He breaks new ground in placing portrait patronage and production in this era in the broad social and cultural context of post-Reformation England, and in distinguishing between native English provincial portraiture, which was often highly vernacular, and foreign-influenced portraiture of the court and metropolis, which tended towards the formal and 'polite'. Tittler describes the burgeoning public for portraiture of this era as more than the familiar court-and-London based presence, but rather as a phenomenon which was surprisingly widespread both socially and geographically throughout the realm. He suggests that provincial portraiture differed from the 'mainstream', cosmopolitan portraiture of the day in its workmanship, materials, inspirations, and even vocabulary, showing how its native English roots continued to guide its production. Innovative chapters consider the aims and vocabulary of English provincial portraiture, the relationship of portraiture and heraldry, the painter's occupation in provincial (as opposed to metropolitan) England, and the contrasting availability of materials and training in both provincial and metropolitan areas. The work as a whole contributes to both art history and social history; it speaks to admirers and collectors of painting as well as to curators and academics.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
ND1314.2 .T58 2012 Unknown
Book
316 p. : chiefly col. ill. ; 41 cm.
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Folio
ND1313.2 .R56 2012 FF Unknown
Book
176 p. : ill. (some col.) ; 25 cm.
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
ND673 .R9 A4 2012 Unknown
Book
viii, 181 p., [8] p. of plates : ill. (some col.) ; 23 cm.
  • Chapter One - Niagara Chapter Two - Mantua, 11 June 1546 Chapter Three - Between legends and documents Chapter Four - A movable panel Chapter Five - Isabel Archer Chapter Six - The meeting Chapter Seven - The wax seals Chapter Eight - Flying back from New York Chapter Nine - Fabio Tempestivi Chapter Ten - The melancholic exile Chapter Eleven - The last survivor Chapter Twelve - Ragusa 1573 Chapter Thirteen - The Madonna's teeth Chapter Fourteen - The hidden drawing Chapter Fifteen - The Stone City Chapter Sixteen - Tempestivi's funeral Chapter Seventeen - The island of Sipan Chapter Eighteen - Oxford Chapter Nineteen - Back to Buffalo Chapter Twenty - Restoration Chapter Twenty-One - Pentimenti Epilogue.
  • (source: Nielsen Book Data)
Translated by Lucinda Byatt This book tells the remarkable story of a rare discovery: the uncovering of two lost paintings by the great Renaissance artist Michelangelo. Like many stories of artistic loss, this one begins in a library in Italy, where Antonio Forcellino - a distinguished Michelangelo scholar and restorer - stumbled across some unpublished letters among the papers of Cardinal Ercole Gonzaga, son of Isabella d'Este and an extremely important figure in the Italian Renaissance. These letters comment on the paintings of Michelangelo in a way that is completely at odds with what was to become the dominant critical tradition of Michelangelo scholarship, an inconsistency that set Forcellino off on a journey that took him to Dubrovnik, Oxford, New York and Niagara Falls and culminated in the discovery of two magnificent paintings: Pieta with Mary and Two Angels , now in a private collection in America, and Cavalieri Crucifixion , now held by an educational institution in England. Through a combination of careful historical research, extensive restoration and meticulous radiographic analysis, Forcellino shows convincingly that these paintings can be traced back to the studio of Michelangelo. This extraordinary story, brilliantly retold, calls into question the received view of Michelangelo's work and fills in a missing piece in our understanding of one of the greatest artists of all time.
(source: Nielsen Book Data)
  • Chapter One - Niagara Chapter Two - Mantua, 11 June 1546 Chapter Three - Between legends and documents Chapter Four - A movable panel Chapter Five - Isabel Archer Chapter Six - The meeting Chapter Seven - The wax seals Chapter Eight - Flying back from New York Chapter Nine - Fabio Tempestivi Chapter Ten - The melancholic exile Chapter Eleven - The last survivor Chapter Twelve - Ragusa 1573 Chapter Thirteen - The Madonna's teeth Chapter Fourteen - The hidden drawing Chapter Fifteen - The Stone City Chapter Sixteen - Tempestivi's funeral Chapter Seventeen - The island of Sipan Chapter Eighteen - Oxford Chapter Nineteen - Back to Buffalo Chapter Twenty - Restoration Chapter Twenty-One - Pentimenti Epilogue.
  • (source: Nielsen Book Data)
Translated by Lucinda Byatt This book tells the remarkable story of a rare discovery: the uncovering of two lost paintings by the great Renaissance artist Michelangelo. Like many stories of artistic loss, this one begins in a library in Italy, where Antonio Forcellino - a distinguished Michelangelo scholar and restorer - stumbled across some unpublished letters among the papers of Cardinal Ercole Gonzaga, son of Isabella d'Este and an extremely important figure in the Italian Renaissance. These letters comment on the paintings of Michelangelo in a way that is completely at odds with what was to become the dominant critical tradition of Michelangelo scholarship, an inconsistency that set Forcellino off on a journey that took him to Dubrovnik, Oxford, New York and Niagara Falls and culminated in the discovery of two magnificent paintings: Pieta with Mary and Two Angels , now in a private collection in America, and Cavalieri Crucifixion , now held by an educational institution in England. Through a combination of careful historical research, extensive restoration and meticulous radiographic analysis, Forcellino shows convincingly that these paintings can be traced back to the studio of Michelangelo. This extraordinary story, brilliantly retold, calls into question the received view of Michelangelo's work and fills in a missing piece in our understanding of one of the greatest artists of all time.
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
Art & Architecture Library Status
Stacks
ND623 .B9 F6713 2011 Unknown

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