Peter Humfrey

Lorenzo Lotto

This study of the Venetian artist Lorenzo Lotto draws on the large body of work by the artist, as well as on the 16th-century documentation on the artist's life, including letters, an account book for the years 1538-56, and will.

The Renaissance was a golden age in the long history of Venetian painting, and the art that came from Venice during that era includes some of the most visually exciting works in the whole of western art. This attractive book - a comprehensive account of painting in Venice from Bellini to Titian to Tintoretto - is an accessible introduction to the paintings of this period. Peter Humfrey surveys the development of a distinctly Venetian artistic tradition from the middle years of the fifteenth century to the end of the sixteenth century. He discusses the work of Jacopo and Giovanni Bellini, Giorgione, Titian, Veronese and Tintoretto as well as the paintings of those less well known - such as the three Vivarini, Cima, Carpaccio, Palma Vecchio, Lorenzo Lotto and Jacopo Bassano. Humfrey analyses these painters' works in terms of their pictorial style, technique, subject matter, patronage and function. He also sets the art against the background of the political, social and religious conditions of Renaissance Venice, as outlined in his Introduction. The book includes an appendix that provides brief biographies of thirty-six of the most important painters active in Renaissance Venice.

Painting in Renaissance Venice

Ted Bates joined the Royal Horse Artillery in 1910. Moving to France in August 1914 with the British Expeditionary Force, he fought in battles at Mons, Le Cateau, the Marne and the Aisne. In October 1914 the Brigade marched to Ypres and there faced the German forces across the Flanders fields. Ted was shot and blinded on 21st October 1914 at Ypres. In his diary Ted describes the events of each day, in retreat and in advance, in defence and in the heat of battle. With humour and humanity he reveals the skill and professionalism of the regular solider, and his loyalty to his comrades and compassion for victims. The author, Ted's grandson, sets each day in the context of the campaign. The causes and effects of military decisions flow through the daily events of the soldier's life in battle. This book covers the campaign up to the end of the First Battle of Ypres in November 1914. Photos and maps illustrate the stages of the campaign. peterhumfrey@hotmail.com

The Diary of Gunner Bates R.h.a. 1914

Destination Unknown

Giovanni Battista Cima da Conegliano

Cima Da Conegliano

Titian

Tiziano Vecellio

This publication presents a catalogue raisonnâe of the ouevre of an artist who has determined the history of art. It is aimed at both specialised readers and at a wider public.

This Companion volume brings together commissioned essays by an international team of scholars on Giovanni Bellini, the dominant painter of Early Renaissance Venice. Among the topics and themes to be discussed are Bellini's position in the social and professional life of early modern Venice; his artistic relationships with his brother-in-law Mantegna, with Flemish painting, and with the 'modern style' that emerged in Italy around 1500; and the connections between Bellini's paintings and the sister arts of architecture and sculpture. Further essays reassess the artist's approaches to landscape and color, elements that have always been recognized as central to his pictorial genius.

The Cambridge Companion to Giovanni Bellini

J. Paul Getty Museum

Andrea Bayer

Dosso Dossi

Mauro Lucco

Imagination, sensual delight, a sharp wit - these qualities were enormously prized in sixteenth-century Ferrara, where one of the most cultured and powerful courts of the High Renaissance held sway, Dosso Dossi was the idiosyncratic, brilliant painter most responsible for turning those values into a glorious artistic reality. Dosso's rich color schemes are akin to those of his fellow North Italian Titian; he learned something about innovative composition from Raphael and about the force of the body from Michelangelo. But his paintings have a very individual appeal. In leafy natural surroundings containing an array of animals and heavenly bodies, events unfold that are often enigmatic, enacted by characters whose interrelationships elude definition. For this exhibition, almost all the surviving paintings have been brought together; in the catalogue entries each one receives a fresh and comprehensive scholarly discussion. The catalogue also contains essays that describe Dosso's artistic career and the highly charged world of the court at Ferrara and that probe the visual poetry and subtle wit of his work. The illuminating results of an extensive campaign of technical examination, undertaken in connection with the exhibition, are discussed and illustrated in additional essays and in observations that accompany the catalogue entries throughout.

Court Painter in Renaissance Ferrara

William F. Prizer

Alessandro Nova

Burton B. Fredericksen

Getty Research Institute (Los Angeles, Calif.)

Giovanni Romano

Michel Hochmann

Vincenzo Gheroldi

Adriano Franceschini

Jane Bridgeman

Craig Hugh Smyth

Andrea de Marchi

Franco Bacchelli

Jadranka Bentini

Albano Biondi

Luca D'Ascia

Dosso Dossi has long been considered one of Renaissance Italy's most intriguing artists. Although a wealth of documents chronicles his life, he remains, in many ways, an enigma, and his art continues to be as elusive as it is compelling. In Dosso's Fate, leading scholars from a wide range of disciplines examine the social, intellectual, and historical contexts of his art, focusing on the development of new genres of painting, questions of style and chronology, the influence of courtly culture, and the work of his collaborators, as well as his visual and literary sources and his painting technique. The result is an important and original contribution not only to literature on Dosso Dossi but also to the study of cultural history in early modern Italy.

Painting and Court Culture in Renaissance Italy

Dosso's Fate

The book will provides the first detailed history of the Bridgewater collection. The story extends from the 3rd Duke of Bridgewater's purchases in Rome in the 1750s, then on to the major acquisitions of the 1790s (especially from the Orleans collection), then through the incorporation of the collection into the Stafford Gallery by the 2nd Marquess of Stafford (1st Duke of Sutherland), and finally to its reinstallation by Lord Francis Egerton in the new Bridgewater House in 1851.0As well as providing a detailed account of the personalities and differing motives of three generations of collectors and owners, the book examines the ways in which the collection was arranged and displayed. It also discusses reactions to it by contemporaries, from sophisticated critics such as William Hazlitt, to the general public, and analyses major publications on it such as the four-volume illustrated catalogue by William Young Ottley of 1818.0The illustrations will include many works sold from the collection after 1946 and now widely dispersed.

The Greatest Art Collection of Regency London

The Stafford Gallery

Peter Humfrey

About

Books

Join the club