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It is 1535, and in the tumultuous years of King Henry VIII’s break from Rome, the religious houses of England are being seized by force. Twenty-year-old Catherine Havens is a foundling and the adopted daughter of the prioress of the Priory of Mount Grace in a small Yorkshire village. Catherine, like her adoptive mother, has a gift for healing, and she is widely sought and admired for her knowledge. Catherine’s hopes for a place at court have been dashed by the king’s divorce, and she has reluctantly taken the veil. When the priory’s costly altarpiece goes missing, Catherine and her friend Ann Smith find themselves under increased suspicion. King Henry VIII’s soldiers have not had their fill of destruction, and when they return to Mount Grace to destroy the priory, Catherine must choose between the sacred calling of her past and the man who may represent her country’s future.

The most magnificent works of art of the Italian Renaissance were religious altarpieces. Intended as rich and beautiful creations, they were also the product of the most important developments in painting. Jacob Burckhardt is best known as the author of "The Civilization of the Renaissance in Italy". His lucid approach to the themes of painting characterize all his writings on the Renaissance. His essays on the altarpieces, written in 1898, remain an excellent introduction to the subject. This edition is the first time the work has been published both in English and as an illustrated book. Peter Humfrey is the author of "Cima da Conegliano" and many articles on Italian Renaissance painting.

The painting and carving of altarpieces was one of the most important and characteristic tasks of Italian Renaissance artists. This book focuses on Venice from 1450 to 1530. Peter Humfrey, an authority on Venetian painting, explores a wide range of issues surrounding altarpieces as an art form. These include the traditions of decoration of Venetian churches, the sacred and secular functions that altarpieces were expected to perform, the market for altarpieces, and the professional world of the Venetian artist. He discusses altarpieces by Bellini, Cima, the three Vivarini, and the young Titian, as well as by numerous other painters and sculptors of the period. A central theme of the book is the relation between the altarpieces and their original physical and liturgical context. Throughout, Humfrey tries to reintegrate altarpieces with their intended settings, both for the sake of recapturing their full visual effect and as a basis for examining the ideological relationship between their subject matter and the altar table below. He also examines the complex mixture of motives, worldly as well as pious, that prompted 15th-century Venetians to spend large sums of money on commissioning altarpieces for the churches of their city. The first part of the book is thematic, dealing with the making, placement, and function of the altarpiece. The second part is a chronological discussion of specific works, focusing on the ways in which the artists met challenges posed by specific commissions. An appendix to the book gives further factual and bibliographical information about 100 major Venetian altarpieces of the period.

The painting and carving of altarpieces was one of the most important and characteristic tasks of Italian Renaissance artists. This book focuses on Venice from 1450 to 1530. Peter Humfrey, an authority on Venetian painting, explores a wide range of issues surrounding altarpieces as an art form. These include the traditions of decoration of Venetian churches, the sacred and secular functions that altarpieces were expected to perform, the market for altarpieces, and the professional world of the Venetian artist. He discusses altarpieces by Bellini, Cima, the three Vivarini, and the young Titian, as well as by numerous other painters and sculptors of the period. A central theme of the book is the relation between the altarpieces and their original physical and liturgical context. Throughout, Humfrey tries to reintegrate altarpieces with their intended settings, both for the sake of recapturing their full visual effect and as a basis for examining the ideological relationship between their subject matter and the altar table below. He also examines the complex mixture of motives, worldly as well as pious, that prompted 15th-century Venetians to spend large sums of money on commissioning altarpieces for the churches of their city. The first part of the book is thematic, dealing with the making, placement, and function of the altarpiece. The second part is a chronological discussion of specific works, focusing on the ways in which the artists met challenges posed by specific commissions. An appendix to the book gives further factual and bibliographical information about 100 major Venetian altarpieces of the period.

Original publisher's sewn paperback, pictorial frontcover, large 8vo: Vol. 1: coloured frontispiece, vi,164pp., 138 illustrations, 16 diagrams, notes, bibliography, index. With a contribution: "On architectural and liturgical aspects of Siena Cathedral in the Middle Ages", by Kees van der Ploeg. Vol. 2: coloured frontispiece, 262pp., 225 illustrations, notes, bibliography, index. With a contribution: "A Description of the Altars in Siena Cathedral in the 1420s", by Gail Aronov. Vol. 1: Paperback. Vol. 2: Clothbound. Very fine copies - as new. Still shrink-wrapped. Volume 4 & 9: Mediaevalia Groningana.

“It is a well-known fact that The Isenheim Altarpiece has in the past been seen as having central significance as a ‘medium for healing’ by the Antonites. To what extent this function has taken hold again in our ‘modern’ times can be seen not only in the steadily growing numbers of visitors, but also in the fact that this book had to be republished after such a short time.” ―Michael Schubert (preface to 2nd ed.)The Isenheim Altarpiece by Matthias Grünewald is one of the most important and monumental works of Western art. Even today, five hundred years after its completion, it continues to present riddles to its viewers―its origin and creator, as well as its theological and esoteric content and intent. The book offers a systematic and informed introduction to the history, meaning, and background of the altarpiece. Moreover, numerous new interpretations are presented, which elaborate upon and fundamentally alter previous perspectives. Included are more than 200 high-quality color reproductions and in-depth visual analysis.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.92

The description for this book, The Ghent Altarpiece and the Art of Jan Van Eyck, will be forthcoming.

Examines the liturgical functions, religious themes, and Christian symbolism of the altarpiece paintings of fifteenth-century Flemish artists

·Interdisciplinary approach to a major work in art history, offering new insights·Lavishly illustrated·Includes details that have come to light using state-of-the-art techniques during the restoration and conservation project that are not always visible to the naked eye The Ghent Altarpiece or the Adoration of the Mystic Lamb, by the Van Eyck brothers (1432), is recognized worldwide as a great work of art, and one of the most influential paintings ever made. It was the world's first major oil painting, and it is laced with religious mysticism. The work almost reads like an A to Z of Christianity - from the Annunciation to the symbolic sacrifice of Christ, with the 'Mystic Lamb' on an altar in a heavenly meadow, bleeding into the Holy Grail.For the first time, this book gathers together diverse insights on the Ghent Altarpiece, the monumental poliptych that the brothers Hubert and Jan van Eyck realized with the assistance of a large workshop and advisers on the painting's subject matters. This book has the same aim: to bring together experts from the most diverse disciplines. Only by combining the perspectives of (art) historians, philosophers, religious studies scholars, mathematicians and specialists in optics can one fully understand the riches and depth of this masterpiece.Lavishly illustrated, including details that have come to light using state-of-the-art techniques during the current conservation project and are not always visible to the naked eye.

Book is in NEW condition. 8.51

Following the completion of the construction of new St. Peter's in the second decade of the seventeenth century, a series of monumental altarpieces was commissioned to decorate its altars. Here for the first time the altarpieces of St. Peter's are considered collectively, within the liturgical and artistic program of the building as a whole. Louise Rice takes a comprehensive approach to this critical chapter in the history of Italian Baroque art, offering insight into the mechanisms, motives, and meanings of papal patronage in the premier church of Catholicism.

Examines the liturgical functions, religious themes, and Christian symbolism of the altarpiece paintings of fifteenth-century Flemish artists

428 pages, 268 figs., 40 plates, hardcover, 24 x 31.5 cm. The retable of Pedro de Montoya, bishop of Osma (1453 1474), is the largest example of an embroidered altarpiece. Today, it is part of the collection of the Art Institute of Chicago. The altarpiece underwent conservation / restoration and technical documentation in the Abegg-Stiftung. This was followed by an international workshop focusing on the concept and technique of the altarpiece as well as on its art historical and historical context. The essays locate this masterpiece of an ambitious donor in the artistic milieu of fifteenth-century Castile. Contributions on the art of embroidery in the Crown of Aragon complete the volume.

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The description for this book, The Ghent Altarpiece and the Art of Jan Van Eyck, will be forthcoming.

The description for this book, The Ghent Altarpiece and the Art of Jan Van Eyck, will be forthcoming.

This study examines the development of the altarpiece in sixteenth-century Venice. Focusing closely on Titian's St. Peter Martyr Altarpiece, which was the most famous work by this painter, destroyed in 1867, Patricia Meilman considers how this painting irrevocably changed the course of altar decoration. Demonstrating the legacy of the St. Peter Martyr Altarpiece with a younger generation of painters, she also examines the social, religious and historical events of the decades just before the Tridentine reforms and their impact on devotional imagery and practices.

Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

480 S., reich und meist farbig bebildert, OLn., Gr.-4*. Sauberer Leinenband mit Schutzumschlag. 69 Sprache: Englisch Gewicht in Gramm: 2000