London, 2011. Cm. 28x21, pp. 210, tavv. e ill. a col. e in nero n. t., tela e sovrac.
Catalogo della mostra: Washington, National Gallery of Art, 2011-2012.
This publication will be the only available English-language monograph to date on sixteenth-century sculptor Pier Jacopo Alari Bonacolsi (c. 1455–1528), who earned the nickname 'Antico' with his highly refined reductions of Greco-Roman antiquities. His bronzes – many of which were produced at the brilliant court of Isabella d'Este at Mantua – were remarkable for being meticulously cast and finely cleaned and finished, designed for close appreciation in the privacy of a courtly studiolo. His black patination and exquisite detailing, such as gilded hair and silver-inlaid eyes, are characteristic. Given Antico's importance for the history of sculpture this book is a much needed resource in the field, presenting new scientific research and the results of technical studies undertaken at the National Gallery of Art, Washington. A series of essays places Antico's life, work and technique in a contextual framework useful for understanding his body of work. In addition to providing an overviewof the artist's career, the catalogue will also address key topics from his workmanship and craft to his relationship with the court of Mantua. Eleonora Luciano, associate curator of sculpture at the National Gallery of Art provides a biography of the artist; Claudia Kryza-Gersch, curator of Italian sculpture at the Kunsthistorisches Museum, Vienna, discusses Antico as a 'Pioneer of Renaissance sculpture'; Stephen Campbell, professor of the Department of Art History at John Hopkins University, writes about 'Antico and Humanism at the Court of Mantua'; Davide Gasparotto, curator at the Galleria Nazionale di Parma, considers Antico's portraiture; Denise Allen, curator at the Frick Collection, New York, writes about 'Materials, Workmanship and Meaning' in the artist's work. Two appendices present new scientific work: Shelley Sturman and Dylan Smith, both conservators at the National Gallery of Art, explore the technology of Antico's bronzes, and Richard Stone, conservator emeritus at the Metropolitan Museum of Art, New York, examines Antico's patinas
The outstanding collection of European bronze sculptures formed by Peter Marino, here catalogued for the first time and beautifully photographed by Maggie Nimkin, is built around an exploration of the human form, as depicted in this lustrous and sensuous material. With a special focus on French and Italian bronzes of the High Baroque, the collection includes masterpieces by some of the greatest sculptors of their age, among them Ferdinando Tacca, Giovanni Battista Foggini, Robert Le Lorrain and Corneille van Clève.
London, 2016. Cm. 26x21, pp. 112, tavv. e figg. a col. e in nero n. t., br.
Catalogo della mostra: New York, The Morgan Library & Museum, 2016-2017.
The volume accompanies the first museum exhibition to explore the reconstructed masterpiece in context. It has long been observed that the donor portraits are the most outstanding aspect of the Crabbe Triptych, especially the portrait of Anna Willemzoon in the left wing, an extraordinary image of old age, and representative of the merging of the sacred and secular realms that is often present in the work of Memling and his contemporaries. Memling was notable as a painter of portraits, and his work in this field revolutionized portrait painting across Europe. To present the artist’s extraordinary ability to capture a likeness, a number of his independent portraits will be examined, including the Morgan’s compelling Man with a Pink. The volume also highlights links between panel painting and manuscript painting in 15th-century Flemish art, drawing connections, for example, between the grisaille Annunciation on the outer wings of the altarpiece and the grisaille figures that decorate so many manuscripts painted in Bruges during Memling’s lifetime. Underscoring this great artist’s impact, the book also examines Early Netherlandish drawings from the Morgan’s collection, works ranging from the early compositional studies and figure drawings to a group of portrait drawings made in the generation after Memling and under his influence.
London, Paul Holberton, 2010. Cm. 26x23, pp. 224, figg. a col. e in nero n. t., tela e sovrac.
Catalogo della mostra tenutasi a Londra nel 2010.
Michelangelo Buonarroti's celebrated masterpiece The Dream (Il Sogno) has been described as one of the finest of all Renaissance drawings and it amongst The Courtauld Gallery's greatest treasures. Based on new research, this richly illustrated publication examines The Dream in the context of the so-called 'presentation drawings' which Michelangelo gave to Tommaso de'Cavalieri. Further outstanding drawings by Michelangelo as well as letters and poems by the artist and works by his contemporaries are considered in this revealing study of one of the artist's most complex and personal drawings.
London, 2015. Cm. 28x24, pp. 231, tavv. e figg. a col. e in nero n. t., br.
Catalogo della mostra: Boston, Isabella Stewart Gardner Museum, 2015-2016.
Accompanying an exhibition at the Isabella Stewart Gardner Museum, this catalogue explores one of the most important but historically neglected painters of the Italian Renaissance, Carlo Crivelli (c. 1435–c. 1495). Venetian by birth but shaped by formative experiences in Padua, Crivelli embarked on a career that spanned both sides of the Adriatic. His extraordinary success led to a virtual monopoly in the Marches, where he dominated the market for towering altarpieces and jewel-like paintings for private devotion in the second half of the fifteenth century. Pushing the boundaries between painting and sculpture, his works are distinguished by their radically expressive compositions, luxuriant ornamental display and bravura illusionism. Seven essays challenge the prevailing view of Crivelli as a provincial artist working in an anachronistic 'gothic' style, investigate the remarkable facture of his paintings, and shed new light on his rediscovery by collectors. Repositioning Crivelli’s contributions within wider developments in the history of western art, Stephen J. Campbell (Johns Hopkins University), C. Jean Campbell (Emory University), Thomas Golsenne (École Nationale Supérieure d’Art de Nice), and Alison Wright (University College London) reveal his artistic ambition. Crivelli is reevaluated as an experimental artist who masterfully manipulated the surfaces of his paintings into visionary encounters with the divine, forged a modern icon, and offered a powerful alternative to new models of painting associated with Florence. Gianfranco Pocobene (Isabella Stewart Gardner Museum) examines the technical facility that underpins Crivelli’s dazzling pictorial effects and publishes the results of the first ever technical analysis on the Gardner’s Saint George and the Dragon. Essays by Francesco De Carolis (Università di Bologna) and Oliver Tostmann (Wadsworth Athenaeum) investigate the painter’s critical fortunes. The former explores the dispersal of Crivelli’s works in nineteenth-century Italy and their role in shaping his modern reputation, while the latter examines the American taste for Crivelli in the early twentieth century.
London, The Trustees of the Wallace Collection, 2013. Cm. 31x25, pp. 375, cent. di tavv. e ill. a col. e in nero n. t., tela e sovrac.
The Wallace Collection's holdings of gold boxes, one of the finest and most important collections in the world, is here published in full, as part of the new series of scholarly catalogues of the Collection. The 99 pieces catalogued represent a brilliant cross-section of the products of the finest European goldsmiths between c. 1730 and 1830. They include some remarkable boxes by the most famous makers in Paris, as well as outstanding examples from Berlin, Dresden and Hanau.