This publication will be the only available English-language monograph to date on sixteenth-century sculptor Pier Jacopo Alari Bonacolsi, also known as Antico. Given Antico’s importance for the history of sculpture this book is a much needed resource in the field and will present new scientific research and the results of technical studeis to be undertaken at the National Gallery of Art. 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 overview of the artist’s acareer, the catalogue will also address key topics topics from his workmanship and craft to his relationship with the court of Mantua. More
The Editors acknowledge with thanks the grants received from the Fundação Calouste Gulbenkian (Lisbon) and Private sponsors in Portugal
The Global City: On the Streets of Renaissance Lisbon
Hardback, 280 x 245 mm 296 pages, 250 colour illustrations
ISBN: 978 1 907372 88 9
Edited by Annemarie Jordan Gschwend and K.J.P. Lowe
Awarded the 2016 "Admiral Teixeira da Mota" Prize from the Academia de Marinha, Lisbon. This annual award recognizes an outstanding publication in the area of Portuguese maritime history.
"[A] transformative scholarly contribution" —2016 Eleanor Tufts Award (Honorable Mention) This annual award recognizes an outstanding English-language publication in the area of Spanish or Portuguese art history.
"This is modern historical inquiry at its best: clear, precise, forthcoming about problems of evidence, and relentlessly focused on its central questions...[The Global City] restores Lisbon to its rightful place as one of the most important centres in the history of the modern world." —Times Literary Supplement
"This handsomely illustrated book offers a tantalising view of a vanished city that in its day, according to do Góis, 'reigned over the world.'" —Apollo
"Cultural history at its most original and sustaining." —Literary Review
"In this wonderful book, Annemarie Jordan Gschwend and Kate Lowe have successfully brought back to life the disappeared world of the bustling Atlantic port-city that was Lisbon during the sixteenth century … a real tour de force." —The Court Historian
“Utterly arresting…beautifully presented…fascinating.”
"A superbly produced and illustrated volume of essays." —New York Review of Books
"The Global City, far more than a catalogue of beautiful things, expertly explores the contradictions between power and accumulation, commerce and art, that complicated the imperial project." —World of Interiors
"A deeply important addition to its genre." —Arts of Asia
"The Global City brings the forgotten importance and contribution of a great European city to fresh attention." —The Art Newspaper
"Very well produced … a firm step towards a new and integrated understanding of the role of trade in the early Portuguese empire, the development and the perception of its urban centres, and the social uses of foreign objects." —European History Quarterly
"Excellent and splendidly illustrated book … impressive … enjoyable as well as enlightening." —History: The Magazine of the Historical Association
"Truly splendid … can scarcely be commended more highly." –Sixteenth Century Journal
Recently identified by the editors as the Rua Nova dos Mercadores, the principal commercial and financial street in Renaissance Lisbon, two sixteenth-century paintings, acquired by Dante Gabriel Rossetti in 1866, form the starting point for this portrait of a global city in the early modern period. Focusing on unpublished objects, and incorporating newly discovered documents and inventories that allow novel interpretations of the Rua Nova and the goods for sale on it, these essays offer a compelling and original study of a metropolis whose reach once spanned four continents.
The Rua Nova views painted by an anonymous Flemish artist portray an everyday scene on a recognisable street, with a diverse global population. This thoroughfare was the meeting point of all kinds of people, from rich to poor, slave to knight, indigenous Portuguese to Jews and diasporic black Africans.
The volume highlights the unique status of Lisbon as an entrepôt for curiosities, luxury goods and wild animals. As the Portuguese trading empire of the fifteenth and sixteenth century expanded sea-routes and networks from West Africa to India and the Far East, non-European cargoes were brought back to Renaissance Lisbon. Many rarities were earmarked for the Portuguese court, but simultaneously exclusive items were readily available for sale on the Rua Nova, the Lisbon equivalent of Bond Street or Fifth Avenue. Specialized shops offered West African and Ceylonese ivories, raffia and Asian textiles, rock crystals, Ming porcelain, Chinese and Ryukyuan lacquerware, jewellery, precious stones, naturalia and exotic animal byproducts. Lisbon was also a hub of distribution for overseas goods to other courts and cities in Europe. The cross-cultural and artistic influences between Lisbon and Portuguese Africa and Asia at this date will be re-assessed.
Lisbon was imagined as the head of empire or caput mundi, while the River Tagus became the aquatic gateway to a globally connected world. Lisbon evolved into a dynamic Atlantic port city, excelling in shipbuilding, cartography and the manufacture of naval instruments. The historian Damião de Góis bragged of the “Tagus reigning over the world”. Lisbon’s fame depended on its river, an aquatic avenue that competed with the Rua Nova, providing a means of interaction, trade and communication along Lisbon’s coastline. Even for the cosmopolitan Góis, who travelled extensively for the Portuguese crown, Lisbon’s chaotic docks were worth describing. Of all the European cities he experienced, only Lisbon and her rival Seville could be “rightfully called Ladies and Queens of the Sea”. Góis contended that they had opened up the early modern world through circumnavigation.
Lisbon was destroyed in a devastating earthquake and tsunami in November 1755. These paintings are the only large-scale vistas of Rua Nova dos Mercadores to have survived, and together with the new objects and archival sources offer a fresh and original insight into Renaissance Lisbon and its material culture.
Accompanying an exhibition that examines the figure drawings of the young Albrecht Dürer, this catalogue focuses on his formative years from around 1490, when he completed his artistic training, to 1496, when he established himself permanently as a master in Nuremberg in southern Germany. This period included the so-called Wanderjahre or 'journeyman years', during which the artist travelled widely and was exposed to a range of new experiences. His drawings demonstrate the significance of these early influences in shaping his ambitious artistic personality. More
The portly figure of Henry VIII depicted by Holbein may be very familiar, but this book reveals much more about the portrait, the sitter, the artist and his workshop. It gathers together and analyses the several copies and variants of Holbein’s Whitehall cartoon of Henry VIII, more than one of which is by the only significant painter immediately after Holbein in England, Hans Eworth. More
An examination of masterpieces by Dürer and Mantegna to shed light on the idea of the 'pathos formula', one of the most important concepts of one of the most influential art historians and cultural theorists of the 20th century, the Hamburg banker’s son Aby Warburg (1866–1929). More
This richly illustrated and beautifully produced scholarly catalogue of the superlative collection of Renaissance and Baroque bronze figurative statuettes from the Hill Collection, accompanies an exhibition of the collection at The Frick Collection, New York, opening late January 2014. More
Accompanying an exhibition at The Courtauld Gallery, this catalogue explores one of the most important and historically neglected art forms of Renaissance Florence: cassoni – pairs of chests that were lavishly decorated with precious metals and elaborate paintings and were often the most expensive of a whole suite of decorative objects commissioned to celebrate marriage alliances between powerful families. More
The outstanding collection of European sculptures formed by Peter Marino, which focuses especially on French and Italian bronzes of the High Baroque, 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. This volume of contributions to the symposium held in June 2010 testifying to the importance of the Marino Collection includes ten essays by distinguished scholars of sculpture. More
The Madonna and Child, also known as the 'Dudley Madonna', was painted in c. 1508 by Giovanni Bellini (Venice, c. 1430–1516), one of the most celebrated of Italian artists. Recognised as an important composition by Bellini in the early 20th century, for a hundred years until its sale at auction in 2012 this picture had hardly ever been seen. This book places the painting within Bellini's career and development even though he was over 75 years old when he painted it. More
The city of Venice holds a special place in the global imagination. This book explores the creation of one of its largest surviving depictions, which has remained almost unknown to the wider public since its creation exactly four centuries ago. Signed and dated 1611, the painting is the work of a notable early seventeenth- century Bolognese artist, Odoardo Fialetti. His huge bird’s-eye view of the watery townscape is enlivened by first-hand observation of tiny vignettes of Venetian life. Eight square metres in size, this remarkable painting is a tour-de-force among depictions of cities. More
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, Crivelli was shaped by formative experiences in Padua and 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 15th century. Pushing the boundaries between painting and sculpture, his works are distinguished by their radically expressive compositions, luxuriant ornamental display and bravura illusionism. More
"The whole thing is a curatorial and scholarly triumph ... the catalogue essays do full justice to the power of Michelangelo's intellect, as well as to hand and eye" (Richard Dorment, Telegraph). Michelangelo's Dream (or Il Sogno) is one of the finest of all Italian Renaissance drawings and is amongst The Courtauld Gallery's greatest treasures. Executed at the height of the artist's career, this magnificent work exemplifies Michelangelo's unrivalled skill as draughtsman and his extraordinary power of invention. More
A very handsome addition to any art library" (Art Times) "There is a wealth of information, scholarly insight, and sound reasoning in this work, which serves as both a tribute to one man and a contribution to art history." (Library Journal Reviews) More
Since the early Bronze Age the sword has been a sign of wealth, status and the power of divine right. Yet, before the sixteenth century the sword was almost never carried on the person in everyday life. It was a rare, noble weapon, carried into battle by the aristocratic warrior class but set aside in time of peace. However, the increasing prominence of the Renaissance middle classes brought a fundamental change to the sword's place in society. Now large numbers of non-noble but often wealthy and upwardly mobile people could also afford rich things like fine clothes, jewelry and weapons. More
This publication, which accompanies an important exhibition at the Isabella Stewart Gardner Museum, looks broadly at the practice of drawing by Renaissance sculptors, including such luminaries as Donatello, Verrocchio, Michelangelo, Cellini, Bandinelli and Giambologna. The book surveys two centuries of material, considering rough sketches and more finished sheets, isolated studies and sequences of ideas. More
There can be few examples of intensive fashioning and self-fashioning by a Renaissance figure more remarkable than Prince Henry (1594-1612). Two decades after the appearance of Roy Strong's revelatory Henry Prince of Wales and England's Lost Renaissance this collection of essays re-examines the extraordinary artistic and cultural response to Prince Henry and presents many new findings in the context of recent scholarship. More
This illuminated manuscript, a gradual of large size which the whole congregation of monks could see and read as they sang in choir (just as they are shown doing in an illustration in the manuscript itself), was previously unknown to scholars and has only recently come to light. It was clearly produced for a monastery of the Olivetan order, a branch of the Benedictines with a particular reverence for the Virgin Mary – probably Santa Maria di Baggio near Milan. More
The Courtauld’s Adam and Eve is arguably the most beautiful of Cranach’s fifty or more depictions of this subject. It brilliantly combines devotional meaning with pictorial elegance and invention. This exhibition catalogue explores the making and meaning of this Protestant and courtly masterpiece, and the contexts in which it was made and seen. It incorporates much conservation and technical research. More
OUT OF PRINT: This beautiful and scholarly catalogue accompanies the exhibition Mantegna to Matisse: Master Drawings from The Courtauld Gallery, organized by Colin B. Bailey, Deputy Director and Peter Jay Sharp Chief Curator of The Frick Collection, and Stephanie Buck, Martin Halusa Curator of Drawings at The Courtauld Gallery. The drawings represent a survey of the extraordinary of Italian, Dutch, Flemish, German, Spanish, British and French artists active between the late Middle Ages and the early twentieth century. More