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MARCUCCI, LUISA, AND EMMA MICHELETTI.
Medieval Painting.
London, Studio Books, 1960. Folio. Orig. full cloth in dustwrappers. 207 pp. With ca. 100 tipped-in colour plates.
Reference : 41407
Covers the first 1000 years of European painting from the fourth to the fourteenth century
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5 book(s) with the same title
The Thornham Parva Retable. Technique, conservation and context of an English medieval painting. Painting and Practice
Massing, Ann: The Thornham Parva Retable. Technique, conservation and context of an English medieval painting. London: 2003. Series: Painting and Practice. 240pp with 263 colour and 109 monochrome illustrations. Cloth, 28.6x25cms. Documents the examination and conservation of the Retable, one of Britain's largest and best preserved medieval altarpieces. The results of the technical examination are complemented by a series of articles placing the Retable in a technical and art historical context. The restoration of the altarpiece has provided new insights into the sophisticated practice of oil painting in England before the 15th century.
Documents the examination and conservation of the Retable, one of Britain's largest and best preserved medieval altarpieces. The results of the technical examination are complemented by a series of articles placing the Retable in a technical and art historical context. The restoration of the altarpiece has provided new insights into the sophisticated practice of oil painting in England before the 15th century. Text in English
The Materials and Techniques of Medieval Painting (Dover Art Instruction)
Dover Publications Inc 256 pages 13 8938x22 86x4 3942cm. Sans date. Broché. 256 pages.
circa 1980 réédition de celle de 1956 Très bon état dos insolé intérieur propre
Reference : albcc1e9ba71665c1e0
Ukrainian medieval painting. In Russian (ask us if in doubt)/Ukrainskaya srednev
Ukrainian medieval painting. In Russian (ask us if in doubt)/Ukrainskaya srednevekovaya zhivopis.Kyiv Mistetsvo 1976. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalbcc1e9ba71665c1e0
Reference : albb8c17088b166b8b0
Lazarev V.N. Russian medieval painting. /Lazarev V.N. Russkaya srednevekovaya zh
Lazarev V.N. Russian medieval painting. /Lazarev V.N. Russkaya srednevekovaya zhivopis'. Academy of Sciences of the USSR. Institute of Art History of the Ministry of Culture of the USSR Moscow Science 1970. 344 p. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalbb8c17088b166b8b0
Trecento Pictoriality: Diagrammatic Painting in Late Medieval Italy
, Brepols - Harvey Miller, 2023 Hardback, 367 pages, Size:220 x 280 mm, Illustrations:115 col., Language: English. ISBN 9781915487049.
Summary In dozens of monumental examples across central and northern Italy, late-medieval artists created complex diagrammatic paintings whose content was conveyed not through proto-perspectival spaces but rather through complex circles, trees, hierarchical stemmata, and winding pathways. Trecento Pictoriality is the first comprehensive study of the practice of monumental diagrammatic painting in late-medieval Italy, moving the study of diagrams from the manuscript page to the frescoed wall and tempera panel. Often placed alongside narrative, devotional, and allegorical paintings, the diagrammatic mode was one of a number of pictorial modes available to artists, patrons, and planners, with a unique ability to present complex content to viewers. While monumental diagrams may have sparked some of the experiences usually associated with diagrams in manuscripts, acting as machines for thought, scaffolds for memory, or tools for the visualization of complex concepts, their reception was also shaped by their presence in public spaces, their scale and aura as richly decorated works of monumental visual art, and their insertion into larger pictorial programs. Closely examining the visual and communicative strategies of these paintings expands the horizon of trecento art history beyond narrative and devotional painting, and shifts our understanding of all of the arts of the trecento, calling attention to issues of scale, visual rhetoric, pictorial ingenuity, and reception.
