According to Nico Muhly, the Coronation of the Virgin is "a panel of pure theatre and music". Painted in 1358 by the Venetian artist Paolo Veneziano (ca. 1295-1362), the apocryphal story of the Virgin's death is depicted in one of the artist's most thrilling and important works. Paolo Veneziano presents the Virgin and Christ in sumptuous garments and surrounded by a choir of angels playing portable organs, lutes, trumpets, tambourines, and other instruments. The angels symbolize the harmony of the universe; their instruments are the authentic components of a medieval orchestra, accurately depicted and correctly held and played. The decorative sparkle of the surface - with its brilliant, expensive colours, patterned textiles, and lavish gold leaf - reflects the Venetians' love of luxury, a taste that enriches much of 14th- and 15th-century architecture in Venice.

Routledge is now re-issuing this prestigious series of 204 volumes originally published between 1910 and 1965. The titles include works by key figures such asC.G. Jung, Sigmund Freud, Jean Piaget, Otto Rank, James Hillman, Erich Fromm, Karen Horney and Susan Isaacs. Each volume is available on its own, as part of a themed mini-set, or as part of a specially-priced 204-volume set. A brochure listing each title in the "International Library of Psychology" series is available upon request.
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"[An] unusual meditation on sex, death, art, and Jewishness. . . . Weber weaves in musings on his own sexual and religious experiences, creating a freewheeling psychoanalytic document whose approach would surely delight the doctor, even if its conclusions might surprise him." -New Yorker "Freud's Trip to Orvieto is at once profound and wonderfully diverse, and as gripping as any detective story. Nicholas Fox Weber mixes psychoanalysis, art history, and the personal with an intricacy and spiritedness that Freud himself would have admired." -John Banville, author of The Sea and The Blue Guitar "This is an ingenious and fascinating reading of Freud's response to Signorelli's frescoes at Orvieto. It is also a meditation on Jewish identity, and on masculinity, memory, and the power of the image. It is filled with intelligence, wit, and clear-eyed analysis not only of the paintings themselves, but how we respond to them in all their startling sexuality and invigorating beauty." -Colm Toibin, author of Brooklyn and Nora Webster After a visit to the cathedral at Orvieto in Italy, Sigmund Freud deemed Luca Signorelli's frescoes the greatest artwork he'd ever encountered; yet, a year later, he couldn't recall the artist's name. When the name came back to him, the images he had so admired vanished from his mind's eye. This is known as the "Signorelli parapraxis" in the annals of Freudian psychoanalysis and is a famous example from Freud's own life of his principle of repressed memory. What was at the bottom of this? There have been many theories on the subject, but Nicholas Fox Weber is the first to study the actual Signorelli frescoes for clues. What Weber finds in these extraordinary Renaissance paintings provides unexpected insight into this famously confounding incident in Freud's biography. As he sounds the depths of Freud's feelings surrounding his masculinity and Jewish identity, Weber is drawn back into his own past, including his memories of an adolescent obsession with a much older woman. Freud's Trip to Orvieto is an intellectual mystery with a very personal, intimate dimension. Through rich illustrations, Weber evokes art's singular capacity to provoke, destabilize, and enchant us, as it did Freud, and awaken our deepest memories, fears, and desires. Nicholas Fox Weber is the director of the Josef and Anni Albers Foundation and author of fourteen books, including biographies of Balthus and Le Corbusier. He has written for the New Yorker, New York Times, Los Angeles Times, Wall Street Journal, Le Monde, ARTnews, Town & Country, and Vogue, among other publications.

Did you know Vincent van Gogh sold only one painting during his lifetime and that during the last three months of his life he completed an average of one painting every day? Did you know that Michelangelo's David is covered in a dusting of human skin? Did you know Caravaggio murdered several people while he was painting some of the most glorious paintings of biblical scenes the world has ever known? Rembrandt Is in the Wind by Russ Ramsey is an invitation to discover some of the world's most celebrated artists and works, while presenting the gospel of Christ in a way that speaks to the struggles and longings common to the human experience. The book is part art history, part biblical study, part philosophy, and part analysis of the human experience; but it's all story. The lives of the artists in this book illustrate the struggle of living in this world and point to the beauty of the redemption available to us in Christ. Each story is different. Some conclude with resounding triumph while others end in struggle. But all of them raise important questions about humanity's hunger and capacity for glory, and all of them teach us to love and see beauty.

Based on a lifetime's work in the field, Sir Roy Strong offers an expert and engaging new look at portrait painting in Stuart England, studying the sitters as much as the artists. Sir Roy Strong has been writing for over half a century on the painters of the courts of James I and Charles I. While taking account of the mass of scholarly work that has appeared during that time, this book offers a very different approach to the subject. Until now, the universal method has been to look at the artists, in particular van Dyck, and to see half a century of painting through the six years when the latter was in England. Instead, we are offered a view based on portraits and their sitters, and particularly on the dramatic change in their attitudes, from the still medieval (if Protestant) aesthetic of the Elizabethan age to the ambiguity of one which replaced that aesthetic by one based on the Catholic baroque of European art. Portraits after all are permanent records of how a sitter wished to be seen by posterity as well as in his or her own period. The obsession with the painter and with attribution has tended to obscure that very basic fact. They are inevitably self-fashioning images that chart the new mythology not only of a new dynasty, the Stuarts, but also of a burgeoning and assertive aristocracy. Unlike their spectacular court masques, however, which were gone in an evening of glory, the portraits are still with us - or, rather, those that have survived. Through them we are able to trace a new iconography for a new dynasty and also an aesthetic revolution which moved away from the Elizabethan world of ambiguity and hieroglyphs to one set in space defined by the new optics of the Renaissance. But the title, The Stuart Image, is designed to emphasise that above all what we see is the image and not the reality.

Spanning from the innauguration of James I in 1603 to the execution of Charles I in 1649, the Stuart court saw the emergence of a full expression of Renaissance culture in Britain. In "Art and Magic in the Court of the Stuarts," Vaughan Hart examines the influence of magic on Renaissance art and how in its role as an element of royal propaganda, art was used to represent the power of the monarch and reflect his apparent command over the hidden forces of nature.Court artists sought to represent magic as an expression of the Stuart Kings' divine right, and later of their policy of Absolutism, through masques, sermons, heraldy, gardens, architecture and processions. As such, magic of the kind enshrined in Neoplatonic philosophy and the court art which expressed its cosmology, played their part in the complex causes of the Civil War and the destruction of the Stuart image which followed in its wake.

The first major history of the bravura movement in European painting The painterly style known as bravura emerged in sixteenth-century Venice and spread throughout Europe during the seventeenth century. While earlier artistic movements presented a polished image of the artist by downplaying the creative process, bravura celebrated a painter's distinct materials, virtuosic execution, and theatrical showmanship. This resulted in the further development of innovative techniques and a popular understanding of the artist as a weapon-wielding acrobat, impetuous wunderkind, and daring rebel. In Bravura, Nicola Suthor offers the first in-depth consideration of bravura as an artistic and cultural phenomenon. Through history, etymology, and in-depth analysis of works by such important painters as Fran ois Boucher, Caravaggio, Francisco Goya, Frans Hals, Peter Paul Rubens, Tintoretto, and Diego Velazquez, Suthor explores the key elements defining bravura's richness and power. Suthor delves into how bravura's unique and groundbreaking methods-visible brushstrokes, sharp chiaroscuro, severe foreshortening of the body, and other forms of visual emphasis-cause viewers to feel intensely the artist's touch. Examining bravura's etymological history, she traces the term's associations with courage, boldness, spontaneity, imperiousness, and arrogance, as well as its links to fencing, swordsmanship, henchmen, mercenaries, and street thugs. Suthor discusses the personality cult of the transgressive, self-taught, antisocial genius, and the ways in which bravura artists, through their stunning displays of skill, sought applause and admiration. Filled with captivating images by painters testing the traditional boundaries of aesthetic excellence, Bravura raises important questions about artistic performance and what it means to create art.

Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example is based on 'The Vitruvian Man', c. 1492 by Leonardo da Vinci (1452-1519), and printed on silver.

A NEW STATESMAN BOOK OF THE YEAR AN OBSERVER BEST ART BOOK OF 2021 SHORTLISTED FOR THE RATHBONES FOLIO PRIZE 2022 'This is a wonderful book. A lyrical journey into the natural and unnatural world' Patti Smith 'Everything Philip Hoare writes is bewitching' Olivia Laing An illuminating exploration of the intersection between life, art and the sea from the award-winning author of Leviathan. Albrecht Durer changed the way we saw nature through art. From his prints in 1498 of the plague ridden Apocalypse - the first works mass produced by any artist - to his hyper-real images of animals and plants, his art was a revelation: it showed us who we are but it also foresaw our future. It is a vision that remains startlingly powerful and seductive, even now. In Albert & the Whale, Philip Hoare sets out to discover why Durer's art endures. He encounters medieval alchemists and modernist poets, eccentric emperors and queer soul rebels, ambassadorial whales and enigmatic pop artists. He witnesses the miraculous birth of Durer's fantastical rhinoceros and his hermaphroditic hare, and he traces the fate of the star-crossed leviathan that the artist pursued. And as the author swims from Europe to America and beyond, these prophetic artists and downed angels provoke awkward questions. What is natural or unnatural? Is art a fatal contract? Or does it in fact have the power to save us?

Leonardo's enduring fascination with water-from its artistic representation to aquatic inventions and hydraulic engineering Formless, mutable, transparent: the element of water posed major challenges for the visual artists of the Renaissance. To the engineers of the era, water represented a force that could be harnessed for human industry but was equally possessed of formidable destructive power. For Leonardo da Vinci, water was an enduring fascination, appearing in myriad forms throughout his work. In Watermarks, Leslie Geddes explores the extraordinary range of Leonardo's interest in water and shows how artworks by him and his peers contributed to hydraulic engineering and the construction of large river and canal systems. From drawings for mobile bridges and underwater breathing apparatuses to plans for water management schemes, Leonardo evinced a deep interest in the technical aspects of water. His visual studies of the ways in which landscape is shaped by water demonstrated both his artistic mastery and probing scientific mind. Analyzing Leonardo's notebooks, plans, maps, and paintings, Geddes argues that, for Leonardo and fellow artists, drawing was a form of visual thinking and problem solving essential to understanding and controlling water and other parts of the natural world. She also examines the material importance in this work of water-based media, namely ink, watercolor, and oil paint. A compelling account of Renaissance art and engineering, Watermarks shows, above all else, how Leonardo applied his pictorial genius to water in order to render the natural world in all its richness and constant change.

This comprehensive new book is an essential volume for anyone who wants to learn more about Leonardo and to survey his greatest works in one beautifully illustrated collection. The first part contains a detailed exploration of Leonardo's life. It details his childhood, family life and education, and then explores his interests in architecture, engineering and science as well as his career as a painter. The second part of the book contains a gallery of over 300 of Leonardo's major paintings, drawings and designs. These superb reproductions are accompanied by thorough analysis of each artwork and its significance within the context of his life, his technique and his body of work as a whole.

In this book, Robert Maniura explores the role and importance of the miraculous image in the art and devotional practices of Renaissance Italy. Using the records of Giuliano Guizzelmi, a Tuscan lawyer, he focuses on his stories of miracles of local shrines, including Santa Maria delle Carceri, a painting of the Virgin Mary on a wall of the town prison, and the relic of her belt in the Prato Cathedral. Guizzelmi's stories build a powerful picture of the visual culture of the period, involving images that were kissed, worn and applied to sick bodies in rituals of healing. They also place his devotional activity in the context of his everyday life. Moreover, the paintings of Guizzelmi's burial chapel also engage with contemporary pictorial conventions and show how his concerns can inform our understanding of contemporary art, notably the works of his late fifteenth-century contemporaries, Ghirlandaio, Perugino and Filippino Lippi.

Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example is based on 'Girl with a Pearl Earring' by Vermeer. The grand master of portraiture, Johannes Vermeer, was a pivotal figure of the Dutch Golden Age. Girl with a Pearl Earring depicts the fresh-faced beauty of a young woman, simply but strikingly adorned in a turban and luminous pearl. Her intimate and direct gaze enhances the energy of the portrait and offsets the dark, understated colour scheme. An enigmatic and seductive atmosphere swirls around her, while the subject remains forever still for the viewer to admire.

Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. National Gallery: Bosschaert the Elder - Still life of Flowers in a Wan-Li Vase. Ambrosius Bosschaert the Elder was a Dutch Golden Age painter. The flowers in this arrangement, which include lilies, tulips, roses, and carnations, are painted with almost scientific precision. Bosschaert's choice of a smooth copper support enhances the extraordinary detail of his brushwork. The bouquet itself, however, is a fiction: these flowers do not bloom at the same time, and would have been far too precious to cut for temporary display.

From the Pulitzer Prize–winning author of The Return comes a profoundly moving contemplation of the relationship between art and life.

After finishing his powerful memoir The Return, Hisham Matar, seeking solace and pleasure, traveled to Siena, Italy. Always finding comfort and clarity in great art, Matar immersed himself in eight significant works from the Sienese School of painting, which flourished from the thirteenth to the fifteenth centuries. Artists he had admired throughout his life, including Duccio and Ambrogio Lorenzetti, evoke earlier engagements he’d had with works by Caravaggio and Poussin, and the personal experiences that surrounded those moments.

Including beautiful full-color reproductions of the artworks, A Month in Siena is about what occurred between Matar, those paintings, and the city. That month would be an extraordinary period in the writer’s life: an exploration of how art can console and disturb in equal measure, as well as an intimate encounter with a city and its inhabitants. This is a gorgeous meditation on how centuries-old art can illuminate our own inner landscape—current relationships, long-lasting love, grief, intimacy, and solitude—and shed further light on the present world around us.

With a freshness and breadth of approach that sets the art in its context, this book explores why works were created and who commissioned the palaces, cathedrals, paintings, and sculptures. It covers Rome and Florence, Venice and the Veneto, Assisi, Siena, Milan, Pavia, Genoa, Padua, Mantua, Verona, Ferrara, Urbino, and Naples. Chapters are grouped into four chronological parts, allowing for a sustained examination of individual cities in different periods. "Contemporary Scene" boxes provide fascinating glimpses of daily life and "Contemporary Voice" boxes quote from painters and writers of the time. Innovative and scholarly, yet accessible and beautifully presented, this book is a definitive work on the Italian Renaissance. This revised edition contains around 200 new pictures and nearly all colour images. The chapter structure has also been improved for yet greater geographic and chronological clarity, and a new page size makes the volume more user-friendly.

Sigmund Freud was already internationally acclaimed as the principal founder of psychoanalysis when he turned his attention to the life of Leonardo da Vinci. It remained Freud's favourite composition. Compressing many of his insights into a few pages, the result is a fascinating picture of some of Freud's fundamental ideas, including human sexuality, dreams, and repression. It is an equally compelling - and controversial - portrait of Leonardo and the creative forces that according to Freud lie behind some of his great works, including the Mona Lisa. With a new foreword by Maria Walsh.

Occasionally, when something seems very familiar you lose sight of what makes it so special: Flemish Masters. From van Eyck to Bruegel sets out to counteract this effect and opens our eyes once again to the revolution that took place in the Low Countries in the 15th and 16th centuries that shaped the course of European art. In 48 lavishly illustrated analyses, Matthias Depoorter explores how painters such as Van Eyck, Van der Weiden, Massys, Bosch, and Bruegel reached unprecedented heights, and are rightfully considered innovators to this day. The defining factor was their perfecting and mastery of the oil painting technique as well as their ground-breaking attention to optical lighting effects. The new technical possibilities offered a different way of looking at the world and ultimately a new way of painting. No less innovative was the level of detail. These painters were thoroughly acquainted with each other’s work—this volume shows the fundamental artistic cross-fertilization. A must-read for anyone who wants to fall in love with the old masterpieces anew.

Sjoerd van Tuinen argues for the inseparability of matter and manner in the form of a group portrait of Leibniz, Bergson, Whitehead, Souriau, Simondon, Deleuze, Stengers, and Agamben. Examining afresh the 16th-century style of mannerism, this book synthesizes philosophy and aesthetics to demonstrate not only the contemporary relevance of artists such as Michelangelo or Arcimboldo but their broader significance as incorporating a form of modal thinking and perceiving. While looking at mannerism as a style that spurned the balance and proportion of earlier Renaissance models in favour of compositional instability and tension, this book also conceives of mannerism a-historically to investigate what it can tell us about continental modal metaphysics. Whereas analytical metaphysics privileges logical essence and asks whether something is possible, real, contingent, or necessary, continental philosophy privileges existence and counts as many modes as there are ways of coming-into-being. In three main parts, van Tuinen first explores the ontological, aesthetic, and ethical ramifications of this distinction. He then develops this through an extended study of Leibniz as a modal and indeed mannerist philosopher, before outlining in the final part a (neo)-mannerist aesthetics that incorporates diagrammatics, alchemy, and contemporary technologies of speculative design.

In early modern Europe, discernment emerged as a key notion at the intersection of various domains in both learned and artisanal cultures. Often used synonymously with judgment, ingenuity, and taste, discernment defined the ability to perceive and understand the secrets of nature and art, and became explicitly connected with a kind of knowledge available only to experts in the respective fields. With contributions by historians of art and historians of science, and with geographic coverage focusing on the Low Countries and their multiple connections to different parts of the world, this volume reframes recent scholarship on what the editors term 'cultures of knowledge and discernment' in the early modern period. The collection is innovative in its focus on investigating types of knowledge linked to what was then called the 'science' (scientia) of art, to artistic expertise and connoisseurship, and to 'secrets of art and nature.'