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This catalogue introduces the little-known Renaissance artist
Pesellino, exploring his exquisite miniatures, his narrative
cassone panels, and grand altarpieces  During his brief but
varied career, Francesco Pesellino (c. 1422–1457) rose to notable
heights, receiving prestigious commissions from the pope and
becoming a favourite of Florence’s ruling Medici family. His
death at the age of only 35 cut short a rising star of the early
Renaissance. Praised as a painter of “cose picole” (small
things), Pesellino was a remarkable draughtsman and miniaturist,
excelling in fine details and the characterful depiction of
animals. His works were not limited to those on a small scale,
however: he was also an accomplished painter of grand altarpieces.
 This catalogue introduces Pesellino’s work to a wider
audience and celebrates his extraordinary abilities. Beautifully
illustrated essays explore his life and work, and the recent
conservation of the Gallery’s painted cassone panels depicting
the story of David and Goliath, where the artist’s skill as a
storyteller is matched by his technical mastery. The first
publication in English dedicated to Pesellino, it provides a
comprehensive overview of the artist, as well as new insights into
his work. Â Published by National Gallery Global/Distributed
by Yale University Press  Exhibition Schedule:  The
National Gallery, London (December 7, 2023–March 10, 2024)
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Simone Martini in Orvieto (Hardcover)
Nathaniel Silver; Contributions by Machtelt Bruggen Israels, Joanna Cannon, Christopher Etheridge, Stephen Gritt, …
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R1,147
Discovery Miles 11 470
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Ships in 12 - 17 working days
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A New York Times best art book of 2022 New insights into the
innovative multimedia work and early career of fourteenth-century
Italian painter Simone Martini Painter to popes, princes, and
scions of Renaissance dynasties, Simone Martini (ca. 1284-1344)
transformed Western painting with his groundbreaking devotional
images and masterful manipulation of gold. This beautifully
illustrated book highlights the astonishing novelty of his
paintings in terms of their construction, multimedia techniques,
and imagery. A focus of the book-the first on Simone Martini in
English in over thirty years-is the work that he produced for
churches in the Umbrian city of Orvieto, a papal refuge and
stronghold of the Guelph political faction. The publication sheds
light on Simone's early career and technical accomplishments with
extended catalogue entries for three Orvieto altarpieces and a
painting of private devotion, including the results of new
scientific analysis for the Gardner works. Leading scholars
consider Simone's patrons, artistic accomplishments, and
contributions to the development of the polyptych altarpiece.
Distributed for the Isabella Stewart Gardner Museum Exhibition
Schedule: Isabella Stewart Gardner Museum, Boston (October 13,
2022-January 16, 2023)
A major new biography of legendary art collector and philanthropist
Isabella Stewart Gardner Isabella Stewart Gardner (1840–1924)
assembled an extraordinary collection of art from diverse cultures
and eras—and built a Venetian-style palazzo in Boston to share
these exquisite treasures with the world. But her life and work
remains shrouded in myth. Separating fiction and fact, this book
paints an unforgettable portrait of Gardner, drawing on her
substantial personal archive and including previously unpublished
findings to offer new perspectives on her life and her construction
of identity. Nathaniel Silver and Diana Seave Greenwald shed new
light on Gardner's connections to minority communities in Boston,
her views on suffrage and other issues of the day, the sources of
her and her husband’s wealth, and her ties to politicians,
writers, and artists. What emerges is a multifaceted portrait of a
trailblazing collector and patron of the arts—from Italian
Renaissance paintings to Chinese antiquities—who built a museum
unprecedented in its curatorial vision. Beautifully illustrated,
this book challenges any portrayal of Gardner as a straightforward
feminist hero, revealing instead an exceptional, complex woman who
created a legendary museum and played a vibrant and influential
role in the art world. Distributed for the Isabella Stewart Gardner
Museum
Botticelli: Heroines and Heroes explores the work of the legendary
Renaissance painter Sandro Botticelli, focusing on a genre called
spalliera that Botticelli employed with staggering originality. The
catalgoue and exhibition, held at the Gardner Museum, Boston,
include significant loans from European and American public
collections. Accompanying the exhibition at the Isabella Stewart
Gardner Museum, Boston (14 February - 19 May 2019), this catalogue
explores the work of legendary Renaissance painter Sandro
Botticelli (about 1444-1510). Today the alluring and enigmatic
Primavera forms the cornerstone of his modern fame, but its
familiarity belies distant origins in the heady intellectual
environment of Laurentian Florence and the residences of its
moneyed elite. Part of a genre called spalliera, so named for their
installation around shoulder (spalla) height, this type of painting
introduced beautiful, strange, and disturbing images into lavish
Florentine homes. With staggering originality, Botticelli
reinvented ancient subjects for the domestic interior, paneling
patrician bedrooms with moralizing tales and offering erudite
instruction to their influential inhabitants. At the center of this
exhibition is a spalliera reunited, the Gardner's Tragedy of
Lucretia and its companion The Tragedy of Virginia (Accademia
Carrara, Bergamo). Together with extraordinary loans of the same
genre from European and American public collections, Heroines and
Heroes explores Botticelli's revolutionary approach to antiquity -
from ancient Roman to early Christian - and offers a new
perspective on his late career masterpieces. Catalogue essays
address Botticelli's spalliera (Nathaniel Silver), their violence
(Scott Nethersole), his textual sources (Elsa Filosa), and
rediscovery in Gilded Age Boston (Patricia Lee Rubin). Entries
include new insights for each work and up-to-date bibliographies,
while a special section features archival materials devoted to
Gardner's pioneering acquisition of the first Botticelli in
America.
This absorbing book explores the crown jewel of the Isabella
Stewart Gardner Museum's collection of rare books and manuscripts:
Jean Bourdichon's Boston Hours. As court artist to King Francois I
of France, Bourdichon produced paintings, books and even parade
floats for the sovereign and his entourage. This publication
accompanies the museum's first ever exhibition dedicated to this
spectacular illuminated manuscript. Painter to two kings, Jean
Bourdichon remains today one of the most celebrated artists of the
French Renaissance. By age twenty-four, he was already serving as
"peintre du roy," a title which Bourdichon held for the rest of his
life. His illustrious career at the French royal court led to a
wide range of commissions - from portraits to wall maps to stained
glass - but he is remembered principally for astonishing
illuminated manuscripts. The peerless Grandes Heures for Queen Anne
of Brittany remains the touchstone of this group which includes
some of the most lavishly painted books of hours ever produced. One
of these masterpieces - Bourdichon's Boston Hours - in the
collection of the Isabella Stewart Gardner Museum is the subject of
this book. Bourdichon's only intact book of hours in the United
States was acquired by Isabella Stewart Gardner in 1890 and became
the crown jewel of her collection of rare books and manuscripts.
Leading scholars Nicholas Herman and Anne-Marie Eze explore its
history in depth, shedding new light on the book's patronage and
provenance - from the shelves of a wealthy Catholic landowner in
Lincolnshire to the shop of a Venetian art and antiques dealer.
This book is the latest in the Gardner's Close Up series, each
installment focusing on an individual, outstanding work of art in
the collection. This publication is the first dedicated to this
rare treasure, and precedes an exhibition opening in summer 2022.
Nathaniel Silver, William and Lia Poorvu Curator of the Collection,
tells the acquisition story behind The Rape of Europa (1562), one
of the most infl uential and iconic Renaissance paintings in
America. The purchase of Titian’s masterpiece from an English
aristocrat marked the beginning of a new phase in Gardner’s
business relationship with scholar and art dealer Bernard Berenson
and made her the envy of every art collector in the United States.
While Henry James nicknamed Isabella "daughter of Titian" and all
of Boston fell at her feet, European contemporaries took note of
their rapidly disappearing national patrimony. The same celebrity
that would make Europa the crown jewel of Boston's newest museum
fueled the widely publicized debate over England’s artistic
heritage. "American despoilers" became the rallying cry of British
museum directors, curators, and scholars who cast their country as
the victim of New World rapacity, and Isabella its most brilliant
villain. This volume further explores Europa in Titian’s own
time. Here the legendary painter laid claim to the power of poetic
invention, creating the last of the six mythological canvases to
reach Philip II in three years between 1559 and 1562. Described by
the artist as poesie (literally "painted poetries"), these
celebrated pictures reimagined stories from antiquity and explored
the epic consequences of encounters between gods and mortals.
Titian’s staggeringly original interpretations solicited
comparisons with Ovid’s poetry and ancient art. Completed over
more than a decade, they fulfi lled part of a larger agreement to
furnish the king with paintings both secular – and highly sensual
in character – as well as altarpieces of religious subjects.
Published here for the first time, dramatically enlarged details of
the composition demonstrate Titian’s deft touch and dazzlingly
technical accomplishment. These bravura passages recently revealed
by the painting’s comprehensive cleaning – the first since its
arrival in America – are accompanied by commentary from the
conservator, Gianfranco Pocobene, who returned Europa to its
original glory.
Published in commemoration of the 500th anniversary of Raphael’s
death, this engrossing publication accompanies an exhibition the
Isabella Stewart Gardner Museum. Raphael and the Pope’s Librarian
brings together for the first time one of the most fascinating
works in the museum’s collection – the Gardner Museum’s
portrait of papal librarian Tommaso Inghirami – and a painting
from the Vatican Museums depicting an episode in this life. This
book tells the story of the first Raphael in America and explores
Inghirami’s fascinating career. Nearly five centuries after his
death in 1520, Raphael’s fame remains undiminished. Crowned
“prince of painters” by Giorgio Vasari, he inspired both
artists of his own time and others for centuries afterward.
According to the celebrated writer Henry James, Raphael’s work
was “semi-sacred.” Gilded Age American collectors swooned over
his iconic religious images and masterly brushwork, and James’s
contemporaries feverishly tried and failed to acquire Raphael’s
rare paintings in a market flooded with copies, and the occasional
forgery. Isabella Stewart Gardner took up the challenge, determined
to buy a magnificent Madonna by Raphael. Following her gripping
hunt, Gardner was the first collector to bring a work by Raphael to
America, where its unexpected subject led to a mixed reception and
generated surprising rumors in the years to follow. Despite any
hesitations over the painting’s beauty, Gardner named an entire
gallery of her new Boston museum after the Renaissance master and
installed many of her most celebrated works of art around his
portrait of the rotund cleric Tommaso Inghirami. Described by
Erasmus as “the Cicero of our era”, Inghirami was a celebrity
in the high Renaissance esteemed for his profound erudition and
theatrical abilities. His unparalleled knowledge and understanding
of classics made him the ideal choice for Vatican Librarian under
Pope Julius II. Yet he achieved a lasting fame on stage, playing a
leading role in the revival of ancient theatre and acquiring the
nickname “Fedra” after starring as the lovesick Queen Athens in
Seneca’s Greek tragedy Hippolytus (Phaedra). Inghirami’s friend
Raphael offered him another role, recasting the Renaissance
humanist as the congenial philosopher Epicurius in his legendary
School of Athens fresco before memorializing him in the more
worldly painted portrait at the center of this exhibition. Raphael
and the Pope’s Librarian is the latest in the Close Up series of
books accompanying a Gardner exhibition series, each installment of
which sheds new light on an outstanding work of art in the
permanent collection.
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