Cover image for Dürer to Veronese : sixteenth-century paintings in the National Gallery
Title:
Dürer to Veronese : sixteenth-century paintings in the National Gallery
Author:
Dunkerton, Jill.
Personal Author:
Publication Information:
New Haven, Conn. : Yale University Press ; London : National Gallery Publications Ltd., [1999]

©1999
Physical Description:
xi, 317 pages : color illustrations ; 29 cm
Language:
English
Contents:
Power and imagery -- The alterpiece -- Private devotion -- Paintings for palaces -- Description and the ideal -- Preparing to paint -- Preparing the panel -- Paintings on panel -- Original developments -- Conclusion: towards the academy.
ISBN:
9780300072204
Format :
Book

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ND170 .D86 1999 Adult Non-Fiction Non-Fiction Area-Oversize
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Summary

Summary

Focusing on the outstanding sixteenth-century European paintings in the National Gallery, London, this new book is an eagerly awaited companion to Giotto to Durer, the highly regarded guide to the National Gallery's early Renaissance holdings. As beautiful and authoritative as the preceding volume, Durer to Veronese examines the finest works of such artists as Holbein, Raphael, Cranach, Titian, Gossaert, and Bronzino -- creators of some of the most important masterpieces of the sixteenth century.

The authors look closely at a variety of types of painting -- including large altarpieces, small domestic, devotional images, diplomatic gifts, furniture decorations, and both intimate and full-length portraits -- as well as frescoes, drawings, and prints. They provide fascinating insights into the meanings of individual pictures and into the purposes they were originally intended to serve, and they explore the social position of the artist in the 1500s. In addition, the book provides the fullest and most up-to-date account yet made of the procedures, practices, and materials these artists employed.


Author Notes

Jill Dunkerton is restorer in the Conservation Department.


Reviews 3

Booklist Review

The successor to Giotto to Durer (1991), which displayed and discussed the early Renaissance holdings of the National Gallery in London, differs from it by treating the museum's sixteenth-century holdings topically rather than in separate considerations of individual artworks. Each of nine chapters concentrates on a particular broad thematic, formal, functional, or technical aspect of easel paintings. The first chapter, for instance, is on imagery and its meanings; the second discusses altarpieces; the fourth looks at paintings commissioned for display in palaces; and the seventh is about preparing the panel, the typical painting medium of a time when the use of stretched canvas was not yet predominant. Thus, the book affords a rich learning experience about painting practice as well as 385 beautiful and informative illustrations. --Ray Olson


Library Journal Review

Focused on the marvelous collections of London's National Gallery and written by gallery staff, this is an accessible consideration of picture types (altarpieces, private devotions, palace decoration) and technique (painting on panel, painting on canvas, and preparatory drawings and studies) in the age of discovery. Using the collection for interpretive writing of high quality makes this more than just a catalog of pictures done at the same time and now in the same place. The authors provide detailed discussions of particular works and fit them into the artistic framework and understanding of the time, a time when art schools began to develop and when the world known to Europeans was expanding exponentially. A fine addition to both general and specialized art collections, this is highly recommended for all readers.--Jack Perry Brown, Art Inst. of Chicago Lib. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Choice Review

Dunkerton's Giotto to D"urer (CH, Jan'92), the companion volume to the book under review, was a remarkably fine publication, an anchor for the discipline: gloriously illustrated, beautifully and informatively written, and somewhat innovative in its basic conception, blending northern with Italian and emphasizing the new horizons opened in the conservation lab. The present volume is, if anything, more delightful, since it steps a bit farther beyond the National Gallery's own extremely fine holdings to illustrate the painting and a bit of the graphic and decorative art of the period. The result does more than merely introduce one of the finest Museum collections of what used to be called High Renaissance and Mannerist painting; it treats comprehensively an absolutely fundamental and complex subject while addressing the broadest possible public. Renowned, anonymous, and derivative works are treated evenhandedly; gleaming colors compete fairly with infrared photography, X-rays, views of the back of paintings, and of paint surfaces in raking light. An index (which seems not to include the information in captions), a brief topical bibliography, maps, and a chronological table are provided. In finally realigning Burckhardt's 19th-century view of the Renaissance, here lies one of the important building blocks, a book that belongs in every personal, public, and institutional library. All levels. P. Emison; University of New Hampshire