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3 produkter
3 produkter
Leonardo: Discoveries from Verrocchio's Studio
Early Paintings and New Attributions
Inbunden, Engelska, 2018
342 kr
Tillfälligt slut
Presents exciting, original conclusions about Leonardo da Vinci’s early life as an artist and amplifies his role in Andrea del Verrocchio’s studioThis groundbreaking reexamination of the beginnings of Leonardo da Vinci’s (1452–1519) life as an artist suggests new candidates for his earliest surviving work and revises our understanding of his role in the studio of his teacher, Andrea del Verrocchio (1435–1488). Anchoring this analysis are important yet often overlooked considerations about Verrocchio’s studio—specifically, the collaborative nature of most works that emerged from it and the probability that Leonardo must initially have learned to paint in tempera, as his teacher did. The book searches for the young artist’s hand among the tempera works from Verrocchio’s studio and proposes new criteria for judging Verrocchio’s own painting style. Several paintings are identified here as likely the work of Leonardo, and others long considered works by Verrocchio or his assistant Lorenzo di Credi (1457/59–1536) may now be seen as collaborations with Leonardo sometime before his departure from Florence in 1482/83. In addition to Laurence Kanter’s detailed arguments, the book features three essays presenting recent scientific analysis and imaging that support the new attributions of paintings, or parts of paintings, to Leonardo.Distributed for the Yale University Art GalleryExhibition Schedule:Yale University Art Gallery(06/29/18–10/07/18)
871 kr
Skickas inom 5-8 vardagar
A comprehensive presentation of the Yale University Art Gallery’s collection of Italian paintings from the thirteenth to the fifteenth century The collection of Italian paintings at the Yale University Art Gallery is one of the largest and richest in the world. The first of four volumes on the collection, this sumptuously illustrated book features over seventy-five works dating from 1230 to 1420 by artists such as Taddeo Gaddi, Andrea di Cione (better known as Orcagna), Lippo Memmi, Pietro and Ambrogio Lorenzetti, and Lorenzo Monaco. In addition to discussions of each painting’s meaning, function, and significance, entries provide published references, provenance, full technical notes, and detailed conservation histories. An introduction by Laurence Kanter chronicles the history of the collection, from the James Jackson Jarves Collection that was assembled in the nineteenth century—the earliest formed collection of Italian paintings in any American museum—to more recent gifts by Louis and Hannah Rabinowitz and Richard Feigen. While many of the works are from Florence and Siena, the volume also includes examples from Bologna, Rimini, Venice, and more. Through its wide-ranging holdings, the Gallery’s collection provides a remarkable sense of the diverse visual culture of the time. Distributed for the Yale University Art Gallery
305 kr
Kommande
A first look at a newly discovered work by one of the great artists of the Renaissance In January 2020, a previously unrecognized masterpiece by Luca Signorelli (ca. 1445–1523) was discovered by Yale University Art Gallery curators and conservators and freed from multiple layers of grime, regilding, and repainting. The composition—a tondo of the Virgin and Child with saints—was previously known only through two contemporary replicas, one of which was thought to be the original. The discovery of the Gallery’s tondo sheds new light on what is considered the climax of Signorelli’s career at the turn of the sixteenth century, a defining moment in the evolution of Italian painting from the Early to the High Renaissance. Presenting the conserved tondo and its original frame for the first time, this volume investigates the work’s style and dating, the meaning of its enigmatic combination of figures, its probable Sienese patronage, and the implications of its repetition in a second and third version. Laurence Kanter discusses the work in relation to Signorelli’s groundbreaking fresco cycles at the cathedral of Orvieto and the abbey of Monte Oliveto Maggiore, near Siena, and considers the possibility that the alla grottesca decoration of the frame may have been designed, and possibly painted, by Signorelli himself and that this may be the first tondo—a class of object popular in Florence but less common elsewhere—ever painted in Siena. Distributed for the Yale University Art Gallery