Farnham, 2015. Cm. 30x24, pp. 248, tavv. e figg. a col. e in nero n. t., cart. e sovrac.
Catalogo della mostra: Washington, National Gallery of Art, 2015.
Born in 1462, an auspicious time for hopeful young painters in Renaissance Florence, Piero di Cosimo left the city’s artistic landscape forever changed upon his death in 1522. The singular vision of this highly esteemed painter is beautifully presented in this important publication, which accompanies the first-ever retrospective of Piero's astonishing career.
A contemporary of luminaries such as Botticelli, Leonardo and Michelangelo, Piero di Cosimo was regarded in his day as a creative spirit of uncommon imagination. As a poet his fantastic inventions rivalled the verses of the shining lights of ancient Greece and Rome, whose myths and allegories he set out to transform in a strange language all his own. As a masterful painter of both sacred and profane subjects he could flit between complex, crowded compositions and scenes of intimate, tranquil lyricism.
This groundbreaking publication demonstrates Piero's range through in-depth discussions of individual works that help to substantiate specific interpretations and cases of authorship while also addressing the broader social and religious functions of image-making in the period. This unique publication makes a significant contribution to our understanding of a true Italian master, arguably Renaissance art's most spellbinding storyteller.
London, 1993. Cm. 26x21, pp. 160, tavv. 11 a col. f. t. e figg. in nero n. t., br.
Catalogo della mostra: Lucca, Fondazione Ragghianti, 1993.
Farnham, 2010. Cm. 29x23, pp. 217, tavv. e ill. a col. n. t., tela e sovrac.
Catalogo della mostra: Oxford, Ashmolean Museum, 2010.
The book explore the fascination of the Pre-Raphaelite painters with Italy: its landscape, art and culture. Covering the Pre-Raphaelite Brotherhood in the broadest sense, from its foundation in 1848 to the second generation (including Burne-Jones and Crane), it also includes the works of a group of English artists known as the Etruscans, who were followers of the Italian painter Giovanni Costa. Ruskin, whose awareness of Italy was both imaginative and visceral, and who made numerous trips to Italy throughout his life, emerges as a key influence on the relationship of the Pre-Raphaelite painters to Italian culture. Ruskin's own drawings provide a personal record of his engagement with the places he visited. This volume does not simply function as a guide to the exhibition, but can be read on its own as a title which explores the relationship of the Pre-Raphaelite brothers to Italy and to each other in a fresh and original way. It looks at what being in the Brotherhood meant to its members, and what the public understood by it.