Art Renaissance

Hardcover. New Haven, Yale University Press, 1st, 1973, Book: Very Good, Dust Jacket: Good, 146 pages of text followed by large section of black & white photographic illustrations. Hardcover. Previous owners name at top right corner of front endpaper. Dust jacket worn, with chipping along edges, fading to spine. Clean, tight copy.

Hardcover. Monteal, Montreal Museum of Fine Art, 1st, 1987, Book: Very Good, Dust Jacket: Very Good, 345 pages plus 8 pages in rear. Large, hardcover exhibition catalog profusely illustrated with DaVinci's drawings. Some color fade to the dust jacket spine otherwise very good.

Softcover. Milan, Olivetti, 1983, Book: Very Good, Dust Jacket: None, Softcover, 155 pages. Numerous illustrations and color photos. This is a catalogue for an exhibition of the preparatory drawings made by Leonardo for The Last Supper. Professor Carlo Bertelli describes the history of the painting (and of the many copies made over the centuries, which form an important documentary record).

Hardcover. Chicago, University Of Chicago Press, 1st US, 2001, Book: Very Good, Dust Jacket: Very Good, 440 pages. Hardcover with dust jacket and slipcase. Full color and black & white illustrations. Beautiful copy with light sunning to dust jacket spine, Clean, tight copy. The technical problems with the Last Supper began as soon as Leonardo started to paint it. He jettisoned the traditional fresco technique of applying paint to wet plaster, a method unsuited to Leonardo's slow and thorough execution, and created the work instead with an experimental technique that involved painting directly on the dry plaster. With this renegade method, Leonardo rendered one of the most enduring painting techniques volatile and unstable. Added to this initial complication have been centuries of pollution, tourists, candle smoke, and the ravages of age, not to mention food fights in the refectory staged by Napoleonic soldiers and Allied bombs in 1943. By the middle of the twentieth century, the Last Supper was in desperate need of a complete restoration.Pinin Brambilla Barcilon was chosen to head this twenty-year project, and Leonardo, The Last Supper is the official record of her remarkable effort. It first documents the cleaning and removal of the overpainting performed in the other attempts at restoration and then turns to Barcilon's meticulous additions in watercolor, which were based on Leonardo's preparatory drawings, early copies of the painting, and contemporary textual descriptions. This book presents full-scale reproductions of details from the fresco that clearly display and distinguish Leonardo's hand from that of the restorer. With nearly 400 sumptuous color reproductions, the most comprehensive technical documentation of the project by Barcilon, and an introductory essay by art historian and project codirector Pietro C. Marani that focuses on the history of the fresco,

Hardcover. NY, Alfred A. Knopf, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. 354 pages. Color and b&w illustrations. From one of Britain's most respected and acclaimed art historians, art critic of The Guardian--the galvanizing story of a sixteenth-century clash of titans, the two greatest minds of the Renaissance, working side by side in the same room in a fierce competition: the master Leonardo da Vinci, commissioned by the Florentine Republic to paint a narrative fresco depicting a famous military victory on a wall of the newly built Great Council Hall in the Palazzo Vecchio, and his implacable young rival, the thirty-year-old Michelangelo. Clean copy.

Hardcover. New York, Knopf, 1st us, 2012, Book: Very Good, Dust Jacket: Very Good, 368 pages. Hardcover with dust jacket. Small red dot remainder mark on bottom edge, otherwise, clean, unmarked copy with only minor wear to dust jacket. Color and Black and white pictures throughout.

Softcover. Cambridge MA, Harvard University Press, reprint, 1986, Book: Very Good, Dust Jacket: None, Softcover, 426 pages plus 322 b&w plates in rear of book. Name on front fly leaf, otherwise clean and bright.

Hardcover. NY, Free Press, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. No artist looms so large in Western consciousness and culture as Michelangelo Buonarroti, the most celebrated sculptor of all time. And no place on earth provides a stone so capable of simulating the warmth and vitality of human flesh and incarnating the genius of a Michelangelo as the statuario of Carrara, the storied marble mecca at Tuscany's northwest corner. It was there, where shadowy Etruscans and Roman slaves once toiled, that Michelangelo risked his life in dozens of harrowing expeditions to secure the precious stone for his Pieta, Moses, and other masterpieces. Many books have recounted Michelangelo's achievements in Florence and Rome. Michelangelo's Mountain goes beyond all of them, revealing his escapades and ordeals in the spectacular landscape that was the third pole of his tumultuous career and the third wellspring of his art. Eric Scigliano brings this haunting place and eternally fascinating artist to life in a sweeping tale peopled by popes and poets, mad dukes and mythic monsters, scheming courtiers and rough-hewn quarrymen. In showing how the artist, land, and stone transformed one another, Scigliano brings fresh insight to Michelangelo's most cherished works and illuminates his struggles with the princes and potentates of Carrara, Rome, and Medici Florence, who raised intrigue to a high art.

Hardcover. Baltimore Museum of Art/Pennsylvania State University Press, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 297 pages. 119 color illustrations and 10 b&w. With an essay by Thomas Primeau. Catalogue entries by Deborah Carton, Susan Dackerman, Richard S. Field, Katherine Crawford Luber, Elizabeth Mansfield, Walter S. Melion, Thomas Primeau and Robert Wheaton. An old master print with color is almost invariably regarded as a suspect object because the color is presumed to be a cosmetic addition made to compensate for deficiencies of design or condition. Painted Prints challenges this deeply entrenched assumption about the material and aesthetic structure of old master prints by showing that in many cases hand coloring is not a dubious supplement to a print but is instead an integral element augmenting its expressive power, beauty, and meaning. Clean, bright copy. NOTE: Due to size and weight, DOMESTIC SHIPPING ONLY.

Hardcover. NY, Metropolitan Museum of Art, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 332 pages with 145 color plates, 151 b&w illustrations. In publisher's shrinkwrap.

Hardcover. Florence, Italy, Cantini, 1st, 1989, Book: Very Good, Dust Jacket: Very Good, 271 pages. Hardcover with dust jacket in SLIPCASE cover. ITALIAN TEXT. Color pictures. Previous owner's bookplate on end paper, otherwise clean, unmarked copy with only minor wear to dust jacket. Slipcase has some tape repair on bottom edge. Red cloth covers with gilt lettering on spine.

Hardcover. New Haven, Yale University Press, 1st US, 1992, Book: Very Good, Dust Jacket: Very Good, Hardcover, 240 pages, illustrated throughout in full color and b&w. Light edgewear to dust jacket, faint foxing to bottom edge. Clean, tight copy.

Hardcover. Grand Rapids MI, Rizzoli for the Grand Rapids Art Museum, 1st, 1997, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 317 pages. illustrated throughout in color, some b/w., major scholarly exhibition catalogue on Perugino, known as Raphael's teacher. Contains 7 essays by 8 contributors and much reference material. Clean copy. PLEASE NOTE: Due to weight, domestic shipping only.

Hardcover. London/NY, Hodder And Stoughton, 1st, 1917, Book: Very Good, Dust Jacket: None, Hardcover, turquoise cloth with gilt and black stamping, 207 pages. Illustrated with 20 tipped-in color plates. Discover the life and world that shaped Raphael, from a quiet Umbrian town to the heart of Florence. This vividly written study traces how the artist's birthplace and family, the Montefeltro court, and the great patrons of Urbino and Florence formed the talents and vision that define his early masterpieces. It weaves biography with analysis, showing how environment, training, and early works set the path for Raphael's maturation as a painter and his emergence as a master of portraiture, Madonnas, and revolutionary composition. Small name, date on front fly leaf, otherwise clean.

Hardcover. NY, George Braziller , 1st, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 95 pages. Oblong format. 33 color plates of the artist's fresco in the Vatican. Other b&w illustrations. Recognizing the precocious talent of Raphael, then age twenty-six, Pope Julius II commissioned the artist in 1509 to paint four monumental murals and numerous smaller scenes that gave visual form to the enlightened world of the Renaissance. Guided by the leading scholars of his day, Raphael chose themes that glorified the four branches of learning required for a general education, particularly that of a pope: Theology, Poetry, Jurisprudence, and Philosophy. The painting of the latter, perhaps best known today as "The School of Athens," shows Plato and Aristotle striding through a vast, open hallway and flanked by scientists and philosophers of the ancient world; rediscovered in the Renaissance, they hold a convention where they discuss issues that will inspire a new age. Short inscription on front fly leaf, otherwise clean.

Hardcover. NY, Phaidon, 1st, 2007, Book: Very Good, Dust Jacket: None, Hardcover, 240 pages. This monograph explores the life and work of one of the most important artists in the history of the West, Raphael (1483-1520). Its scope covers Raphael's origins, his early influences, his important Urbino period and subsequently the extraordinary series of frescoes and portraits of his last phase in Rome. No dust jacket.

Hardcover. Cambridge, The MIT Press, 1st Edition, 1977, Book: Very Good, Dust Jacket: Very Good, 220 pages. Hardcover. Black & white illustrations throughout.Light foxing to edges, pen markings on a couple pages. Dust jacket with shelf wear, small tears to edges. Previous owner's signature to front flyleaf. Otherwise clean, tight copy.

Hardcover. New Jersey, Princeton University Press, 1st, 1999, Book: Very Good, Dust Jacket: None, 302 pages. Hardcover. B/w illustrations throughout. Red endpapers. Decorated cover boards, black quarter cloth, gilt title on spine. An innovative exploration of the place of the erotic in Renaissance art and culture, focusing on a notorious set of images created by the young Italian master Giulio Romano. Clean copy.

Hardcover. New Haven CT, Yale University Press, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover, 224 pages. How does the artist's self-conception change in old age? How does old age affect artistic practice? In this intriguing study, art historian Philip Sohm considers some of the greatest artists of Renaissance and Baroque Italy and their experiences of aging. Sohm investigates how art critics, collectors, biographers, and fellow artists dealt with old painters, what mental landscapes preconditioned responses to art by the elderly, and how biology and psychology were co-opted to explain the imprint that artists left on their art. He also looks carefully at the impact of prejudices, stereotypes, and other imaginary truths about old age. For some artists, the problems of old age were related to physical decline-Poussin's hands became shaky, Titian's eyesight dimmed. For others, psychological symptoms emerged. The book's cast of characters includes Michelangelo, the hypochondriac young fogy; Titian, the shrewd marketer of old age; the multiphobic Pontormo; and others. With sensitivity and insight, Sohm uncovers what it meant to be an old artist and how successive generations have looked at the art of an old master.

Hardcover. NY, George Braziller, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 96 pages, oblong format. This chapel in Italy's great city of art is home to a marvelous cycle of frescoes, composed by three 15th-century masters: Masaccio, Masolino, and Filippino Lippi. Under the supervision of Masaccio, they moved far beyond Giotto in creating figures more human, in spaces more realistic than ever, providing inspiration for succeeding artists like Leonardo and Michelangelo. More than 32 color plates. Short inscription on front fly leaf, otherwise clean.

Hardcover. NY, George Braziller, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 96 pages, oblong format.This chapel in Italy's great city of art is home to a marvelous cycle of frescoes, composed by three 15th-century masters: Masaccio, Masolino, and Filippino Lippi. Under the supervision of Masaccio, they moved farbeyond Giotto in creating figures more human, in spaces more realistic than ever, providing inspiration for succeeding artists like Leonardo and Michelangelo. More than 32 color plates. Short inscription on front fly leaf, otherwise clean.

Hardcover. NY, Narry H. Abrams, reprint, Book: Very Good, Dust Jacket: Good, Hardcover in pictorial boards with acetate dust jacket. 112 pages illustrated in color and b&w. Presents all the existing work of Piero della Francesca. Includes 64 color plates and 111 black-and-white illustrations. Introduction by Peter Murray. Clean copy.

Hardcover. Ithaca NY, Cornell University Press, 1st thus, 1976, Book: Very Good, Dust Jacket: None, Hardcover, tan cloth covers, 250 pages illustrated in color and b&w. Gilt title on spine. Chapters include: The heritage of Apelles; Light, form, and texture in fifteenth-century painting north and south of the Alps; The form of movement in water and air; The grotesque heads; The earliest description of the Triptych; 'As it was in the days of Noe'; From the revival of letters to the reform of the arts: Niccolo Niccoli and Filippo Brunelleschi; The leaven of criticism in Renaissance art: texts and episodes; The pride of Apelles: Vives, Durer and Bruegel. No dust jacket, clean copy.

Hardcover. NY, Rizzoli, 1st, 2000, Book: Very Good, Dust Jacket: None, Boxed set. Each volume is bound in burgundy linen with foil embossing on the cover and the two are housed in a matching slipcase with four-color paintings on both sides. Endpapers, production, and printing are of the highest quality.