‎MARCUCCI, LUISA, AND EMMA MICHELETTI.‎
‎Medieval Painting.‎

‎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

‎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

‎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.‎

‎Masters of the Dark Eyes. Late Medieval Manuscript Painting in Holland,‎

‎Turnhout, Brepols, 2009 Hardback, VIII 472 p., 141 b/w ill. 40 colour ill. ills., 190 x 250 mm. ISBN 9782503515106.‎

‎This study deals with the work of the most prolific Dutch book illuminators, the so-called Masters of the Dark Eyes, named after the most conspicuous aspect of their style: the dark, heavily accentuated shadows round the eyes of the figures. With their elaborately illuminated manuscripts, these masters completely dominated book production in the County of Holland during the late fifteenth and early sixteenth centuries. Their work is characterized by an overwhelming wealth of decorative and pictorial richness, which is especially evident in the unusually ornate programmes of the Books of Hours, and a new type of border decoration derived from the Ghent-Bruges School. This style of painting was practised by many artists of differing talents, as demonstrated by the large number of surviving manuscripts. Not all of the illuminators worked in Holland. Some of them settled in the Southern Netherlands, others emigrated to England, where they illuminated manuscripts for members of the English court. This monograph seeks to order, analyze and evaluate the work of the Masters of the Dark Eyes, and to position their achievements within the context of book illumination in the Northern Netherlands during the 'Waning of the Middle Ages'. It explores a virtually uncharted territory of Dutch manuscript painting. The accompanying descriptive catalogue provides complementary information on more than 70 manuscripts, many of which have never been published at length before. The work is illustrated with a wide selection of colour and black-and-white reproductions. New book.‎