Rings are at once the most intimate forms of jewelry and personal forms of art. This book focuses on approximately fifty rings from a distinguished private collection, tracing the ways that rings of the Middle Ages and Renaissance came to be meaningful. Rings are at once the most intimate forms of jewelry and personal forms of art. This book focuses on approximately fifty rings from a distinguished private collection, tracing the ways that rings of the Middle Ages and Renaissance came to be meaningful. From the mine to the modern collection and through the forge, the goldsmith s shop, and the hands of successive generations of owners, these rings underwent journeys that lent them multifaceted and often multilayered resonances. This book explores these pathways and examines how people throughout history have interacted with multiple aspects of these small but remarkably complex objects. An introduction by Diana Scarisbrick supplements this biography of rings by investigating five prominent ring enthusiasts whose lives, interests, and collections have played prominent roles in the development of the modern appraisal of rings, while providing a chronological sequence for the rings in this book. A catalog of the rings, including their technical details, accompanies the text. 200 color illustrations.

Take this Ring: Medieval and Renaissance Rings from the Griffin Collection

Arts & Photography

Scott Miller

Sandra Hindman

History & Criticism

Brepols

In the year 1260 Nicola Pisano, the sculptor who initiated the revival of classicizing ideals that would later form a major component of Italian Renaissance art, created a remarkable and unusual monument for the Baptistry of Pisa, a hexagonal pulpit supported by seven colorful columns and displaying on its parapet five visually compelling narrative reliefs; several years later he designed a second pulpit, this time for the cathedral of Siena. Toward the end of the century, his son Giovanni received a pulpit commission for the parish church of Sant'Andrea, Pistoia, to be followed a few years later (c. 1302) by another one for the cathedral of Pisa. These four extraordinary monuments, each building upon both older traditions and its own immediate predecessors, yet each a highly innovative and original solution, are the primary subject of this book.

Nicola & Giovanni Pisano Pulpits

Moskowitz, AF

This book is about the production and reception of engravings and metalcuts in the Rhine-Maas region during the second half of the fifteenth century. The Master of the Berlin Passion played a pivotal role in the printmaking industry of the Lower Rhine during this period. He, together with the engravers working in his ambit, specifically targeted their prints at the growing market for illustrated devotional manuscripts, doing so to an extent unparalleled by engravers elsewhere in Europe. As a result, experimental hybrid books combining manuscript and engraving were a phenomenon that flourished particularly in the Rhine-Maas region during the fifteenth century. In the first part the author deals with the production of engravings and metalcuts for the manuscript market, concentrating specifically on the Master of the Berlin Passion and the engravers and metalcutters in his circle. Fresh evidence is considered for their dates, localization and identities, thereby providing the first major re-examination of these printmakers since the 1910s.

Early Engravers and their Public (Studies in Medieval and Early Renaissance Art History)

Weekes, U.

Hans Memling was the leading painter in Bruges during the last quarter of the fifteenth century, receiving commissions from patrons in England, Gernmany and Italy as well as Flanders itself. For the Romantics of the nineteenth century, he ranked even above Jan van Eyck as the greatest of the Flemish primitives. By the middle of the twentieth century, however, his exalted reputation had declined sharply under the shadow of his presumed teacher, Rogier van der Weyden. In 1953, Panofsky labelled Memling a major minor master, leading subsequent writers to consider him unworthy of serious study. It was only in 1994, the five-hundreth anniversary of his death, that the major exhibition on Memling in Bruges launched a veritable flood of publications on his life and work, finally granting him the recognition he deserves. This book contributes to the ongoing reappraisal of Memling by addressing some of the tantalizing problems that remain unresolved despite much recent study of his work. Beginning with the question of his training, the text follows him on his Wanderjahre from his native Germany to Bruges, where he became a citizen in 1465. It then considers his activities as a master painter in Bruges, concentrating on the late fifteenth and early sixteenth centuries, including the work of such major artists as Leonardo da Vinci and Raphael.

Hans Memling, Master Painter in Fifteenth-Century Bruges (Studies in Medieval and Early Renaissance Art History)

Lane, Barbara

This section of the Corpus Rubenianum is concerned with Rubens's remarkable study of past art as revealed by his numerous copies and adaptations from Italian sources. The material is so extensive that it has been divided into three separate volumes covering (I) Raphael and his School, (II) Titian and North Italian artists, and (III) artists who worked in Central Italy as well as in France. Rubens's study of the Cinquecento lasted throughout his life and was not just the focus of his early years in Antwerp when he learned his craft and often used prints and copy drawings as models. Perhaps surprisingly Rubens made relatively few drawings directly from paintings while in Italy between 1600 and 1608, although some survive after frescoes that he saw on his travels. Instead, Rubens was a rapacious collector of Italian drawings, both working studies and journeyman records. He kept them in his cabinet in Antwerp, and took them out from time to time to retouch and rework them so that they became his own. By this means he was able to return to the art of Italy long after he had left that country. Rubens most important painted copies were also made late in his career, in 1628-30 when he had travelled to Madrid and London and was in his fifties, a point when many artists would have thought they no longer needed to study. These replicas may have been made because he could not buy the originals for his collection, but they also reveal the thoroughness of his dialogue with Italian art. In total, this material amounts to the largest group of painted and drawn copies by any late Renaissance painter.

Copies and Adaptations from Renaissance and later Artists: Italian artists. III. Artists working in central Italy and France (Corpus Rubenianum Ludwig Burchard Part XXVI) (Two Volume Set)

Jeremy Wood

Taste and the Antique The Lure of Classical Sculpture: 1500-1900

Francis Haskell

Nicholas Penny

Cet amour qui guérit

Thierry Gamelin

Sancti Cypriani Episcopi Opera

Cyprian (author.)

S. Gregorii Magni Registrum epistularum libri I-VII (Corpus Christianorum) (Latin Edition)

Reference

Pope Gregory I

Jacques Ludvig Fontaine, I.

Language Study & Reference

Guillaume de Tyr: Chronique (Corpus Christianorum) (French Edition)

William of Tyre

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