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Quarto; VG-/G; off-white spine with dark red text; dust jacket has modest wear to exterior; few chips to edges; small open chip to rear; cloth has only light exterior wear; minor rubbing to corners; strong boards; text block exterior edges show minimal wear; previous owner's name to ffep; interior clean; illustrated; pp 202; arts - Non Western Oversized order. Additional shipping and handling may be necessary for expedited/international orders. Economy international shipping unavailable due to size/weight restriction(s). Contact seller if you have any questions. NOTE: Shelved in Netdesk office, atop Case #4. Dumbarton Oaks Studies 28. 1339082. FP New Rockville Stock.

An homage to baroque era architecture, the palatial pattern imparted by this checkered accent rug embodies the majesty of old manors, castles, chalets and Tuscan villas. Boasting a tiled kaleidoscope print in opulent shades of umber, tawny, black and beige, the area rug instantly dresses up a room with an underscore of vintage charm. Use our area rug to add a touch of sophistication and to transform your environment. Transform bland to wow. A vast selection of modern designs, that are made for any indoor environment. Don't settle for boring carpets anymore. Color: Multi-Colored. Pattern: Geometric.

These official guidebooks to Florence's finest museums and art collections are sumptuously illustrated and filled with fascinating detail. This lavishly illustrated series provides readers with the official guides to some of the world's finest galleries and art collections. Packed with fascinating detail, historical insight, and fully up-to-date information, these guides are a must-have for planning their visit to Florence.

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63 pages plus index. Text in English.

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During the eight hundred years since its founding, the Basilica of St. Francis has survived twenty-three recorded earthquakes. None, however, was as devastating as the most recent in September 1997. This important volume offers an incomparable opportunity to see the entire Basilica of St. Francis, including the frescoes of St. Jerome and St. Matthew, which were lost forever when they fell from the nave of the church.The basilica is shown in all its glory. Precious close-up photographs of the frescoes are accompanied by general views of both the upper and lower church, showing the soaring Romanesque architecture, the intricately patterned painted ribs of the arches, the altar and wooden stalls, and the incredible stained glass windows. The frescoes of the Basilica of St. Francis are masterpieces of the very early Renaissance, still influenced by the distinctive perspective and flatness of the Gothic. The text relates the story of the painting of the church--the events depicted by the frescoes themselves, and the progress of work by painters under the tutelage of Cimabue and Giotto, some of whose hands are discernable in individual masterpieces, such as the fresco of Isaac.The Basilica of St. Francis will be restored, but it will never again be as complete as before the tragedy of nature that claimed an important part of art history and Italian culture. Assisi is an important document of our cultural heritage.

15p plus 81 plates, large hardback with illustrated boards, black cloth spine and acetate dustjacket, some foxing along bottom front edge, otherwise an excellent copy

At the end of a program of restoration that lasted an incredibly short time, but for which preparations had been made down to the smallest detail over twenty years of scientific investigation, historical research, laboratory experimentation, essays, trials and monitoring, one of the most fundamental cornerstones and certainly the most dazzling incunbala of modern European painting has been reopened to the public.Preceded by long and complex preparatory work on the building and the surroundings, the intervention of conservation on the mural decoration has made it possible to arrest the acceleration of the process of decay. This decay was chiefly the result of the combined action of damp and pollution, but had been further aggravated by the use of unsuitable restoration materials during the intervention carried out in the early sixties.Once the problem that had prompted the decision to intervene on Giotto's cycle had been resolved, it was thought only proper to respond to the need to restore the paintings as much as possible to their original state.The result has been to render the revolutionary spatial layout of the work more legible, along with the formal values through which Giotto expressed himself, in particular the quality of his coloring, something that is usually (and inexplicably) undervalued.But several genuine discoveries have also emerged, such as his use of the technique required to make mock marble ("marmorino" or "Roman stucco") and of oil to "bind" the white lead, which as a consequence has not undergone any process of alteration. This has revealed, at an unparalleled level (at least as far as our current knowledge is concerned), effects of sunlight or luminosity that it would be hard to regard as produced by chance.

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The frescoes known today are so varied in their imaginative power, function, and themes, and so masterfully executed, that this body of work has long been recognized as a culminating moment in the history of Western art.Italian Frescoes: High Renaissance and Mannerism, 1510-1600 - illustrated with 460 reproduced full-color images and 60 black-and-white illustrations and plans - presents the full spectrum of this epochal achievement. Authors Julian Kliemann and Michael Rohlmann pay equal attention to religious frescoes, which in this period extended and enriched a venerable tradition, and secular imagery. During the cinquecento in Italy hardly a single opulent residence, villa, or palace belonging to a cardinal or aristocrat was not decorated in some fashion with mural painting, which developed in an unprecedented variety of forms.

During the eight hundred years since its founding, the Basilica of St. Francis has survived twenty-three recorded earthquakes. None, however, was as devastating as the most recent in September 1997. This important volume offers an incomparable opportunity to see the entire Basilica of St. Francis, including the frescoes of St. Jerome and St. Matthew, which were lost forever when they fell from the nave of the church.The basilica is shown in all its glory. Precious close-up photographs of the frescoes are accompanied by general views of both the upper and lower church, showing the soaring Romanesque architecture, the intricately patterned painted ribs of the arches, the altar and wooden stalls, and the incredible stained glass windows. The frescoes of the Basilica of St. Francis are masterpieces of the very early Renaissance, still influenced by the distinctive perspective and flatness of the Gothic. The text relates the story of the painting of the church--the events depicted by the frescoes themselves, and the progress of work by painters under the tutelage of Cimabue and Giotto, some of whose hands are discernable in individual masterpieces, such as the fresco of Isaac.The Basilica of St. Francis will be restored, but it will never again be as complete as before the tragedy of nature that claimed an important part of art history and Italian culture. Assisi is an important document of our cultural heritage.

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A criticial look at Pontormo's baroque works emphasizes his idealism as opposed to realism, and his interpretations of biblical events and human nature on canvas and in plaster

Praised by historians and art lovers alike, Steffe Roettgens first volume on the frescoes of the early Italian Renaissance is the most comprehensive survey of the surviving fresco cycles painted from 1400 to 1470. In this second volume, featuring paintings from 1470 to 1510, scores of new photographs document the brilliance of works by Botticelli, Ghirlandaio, Filippino Lippi, Mantegna, Perugino, and Signorelli in palaces and chapels stretching from the Alps to Rome. Professor Roettgens concise and authoritative text illuminates such celebrated sites as the Tornabuoni Chapel in Florence, the Sistine Chapel in the Vatican, and the Camera degli Sposi in Mantua. She also reveals the charm of lesser-known works, such as those in the tiny northern town of Issogne, which capture fifteenth-century men and women bargaining and flirting at an outdoor market. Descriptive and interpretive essays on each of the seventeen cycles touch on all aspects of fresco painting: the artists and their patrons, cultural and historical conditions, local traditions, and technique. Each essay concludes with a diagram of the site, followed by a stunning series of full-page and double-page color plates of the wall paintings, many of them newly restored. This second volume of Professor Roettgens survey builds on the strengths of Italian Frescoes: The Early Renaissance, and easily stands alone as a record of the spectacular art of a flourishing culture.

Certain Italian fresco cycles, notably the Brancacci Chapel in Florence by Masaccio, Masolino, and Filippino Lippi, are well known. Others, such as Piero della Francesca's work in Arezzo and Benozzo Gozzoli's Chapel of the Magi in Florence, have been reproduced countless times. Yet no publisher — until now — has attempted to gather together and document in extensive photographs the essential fresco cycles of the early Italian Renaissance. The list of works covers the regions of Italy, from the Alpine mountain areas to Puglia, with an emphasis on Tuscany and Florence, the artistic center that gave life to the Renaissance. Italian Frescoes: The Early Renaissance opens with a concise introductory text discussing various aspects of fifteenth-century fresco painting: artists, patronage, cultural and historical conditions, technical methods, and questions of local tradition. The central section of the book examines twenty-one fresco cycles, each representing a crowning achievement in this field. A descriptive and interpretive essay introduces each cycle and is followed by a series of full-page and double-page color plates-many of them new photography of recently restored frescoes-covering the entire work. This parade of colorful masterpieces, paired with Steffi Roettgen's authoritative text, makes a brilliant volume that will be treasured by scholars and art lovers alike. A second volume, Professor Roettgen's Italian Frescoes: The Flowering of the Renaissance, continues the story with works by Botticelli, Ghirlandaio, and many others.

The frescoes known today are so varied in their imaginative power, function, and themes, and so masterfully executed, that this body of work has long been recognized as a culminating moment in the history of Western art.Italian Frescoes: High Renaissance and Mannerism, 1510-1600 - illustrated with 460 reproduced full-color images and 60 black-and-white illustrations and plans - presents the full spectrum of this epochal achievement. Authors Julian Kliemann and Michael Rohlmann pay equal attention to religious frescoes, which in this period extended and enriched a venerable tradition, and secular imagery. During the cinquecento in Italy hardly a single opulent residence, villa, or palace belonging to a cardinal or aristocrat was not decorated in some fashion with mural painting, which developed in an unprecedented variety of forms.

At the end of a program of restoration that lasted an incredibly short time, but for which preparations had been made down to the smallest detail over twenty years of scientific investigation, historical research, laboratory experimentation, essays, trials and monitoring, one of the most fundamental cornerstones and certainly the most dazzling incunbala of modern European painting has been reopened to the public.Preceded by long and complex preparatory work on the building and the surroundings, the intervention of conservation on the mural decoration has made it possible to arrest the acceleration of the process of decay. This decay was chiefly the result of the combined action of damp and pollution, but had been further aggravated by the use of unsuitable restoration materials during the intervention carried out in the early sixties.Once the problem that had prompted the decision to intervene on Giotto's cycle had been resolved, it was thought only proper to respond to the need to restore the paintings as much as possible to their original state.The result has been to render the revolutionary spatial layout of the work more legible, along with the formal values through which Giotto expressed himself, in particular the quality of his coloring, something that is usually (and inexplicably) undervalued.But several genuine discoveries have also emerged, such as his use of the technique required to make mock marble ("marmorino" or "Roman stucco") and of oil to "bind" the white lead, which as a consequence has not undergone any process of alteration. This has revealed, at an unparalleled level (at least as far as our current knowledge is concerned), effects of sunlight or luminosity that it would be hard to regard as produced by chance.

Michelangelo's Sistine Chapel frescoes, considered one of the great masterpieces of Western art, are explored in vivid detail in this comprehensive survey of the recently restored masterwork. 10,000 first printing.

The fifth and final volume of the only comprehensive survey in modern times of the surviving Italian frescoes from the Baroque era, 1600 to 1800, this groundbreaking work is an achievement in scholarship and publishing of the same magnitude as Abbeville's Art of Florence and Art and Spirit of Paris. Following the success of the previous volumes in this extraordinary Italian Frescoes series — The Age of Giotto; The Early Renaissance; The Flowering of the Renaissance; and The High Renaissance and Mannerism — this new publication features twenty–five fresco cycles, each representing a notable achievement in the history of art. The fresco cycles presented include brilliant works by Domenichino, Sebastiano Ricci, Guercino, and Tiepolo—all of them still visible on walls and ceilings of palaces and churches spanning Italy from Venice to Naples. The authors present such celebrated sites as the Barberini Palace in Rome and the Pitti Palace in Florence, as well as lesser–known gems. Each of the chapters is concise and authoritative, offering a descriptive and interpretive essay on all aspects of the fresco cycle, covering the artists and their patrons in the context of their cultural and political history. Each essay concludes with a diagram of the site, followed by a series of full– and double–page color plates showing the entire cycle, many reproduced from new photographs of recently restored frescoes. No publisher until now has attempted to gather together and document all the important fresco cycles of Italian art from the late thirteenth to the eighteenth century. While this volume is a continuation of the previous books, Italian Frescoes: The Baroque Era certainly stands alone as an incredible treasury of art and scholarship that will be eagerly collected by art historians and art lovers alike.