‎DRIEUDE E.S.‎
‎Lorenzo‎

‎Autour de Lorenzo Veneziano. Fragments de Polyptyques Vénitiens du XIVe siècle‎

‎Marchi, Andrea de and Cristina Guarnieri: Autour de Lorenzo Veneziano. Fragments de Polyptyques Vénitiens du XIVe siècle. Exhibition: Tours, Musée des Beaux-Arts, 2005. 128 pages. 36 colour and 117 monochrome illustrations. Paperback. 30x24cms. Reunites for the first time the panels of the great polyptych painted in 1368 by Lorenzo Veneziano for the altar of San Giacomo in Bologna. The altarpiece was dismembered in the 17th century, parts now in public collections in Tours, Bologna, Syracuse and Philadelphia. The altarpiece is displayed alongside other works by both Paolo and Lorenzo Veneziano, allowing us to examine the flourishing of the 14th century Venetian school of painting. Text in French.‎

‎Reunites for the first time the panels of the great polyptych painted in 1368 by Lorenzo Veneziano for the altar of San Giacomo in Bologna. The altarpiece was dismembered in the 17th century, parts now in public collections in Tours, Bologna, Syracuse and Philadelphia. The altarpiece is displayed alongside other works by both Paolo and Lorenzo Veneziano, allowing us to examine the flourishing of the 14th century Venetian school of painting. Text in French‎

‎Lorenzo Monaco‎

‎Eisenberg, Marvin: Lorenzo Monaco. Princeton: Princeton University Press, 1989. xxii, 243pp plus 17 colour plates and 337 monochrome illustrations. Cloth. 29x23cms. Catalogue of works by Lorenzo Monaco and his workshop, and of works attributed to him. With documentation, bibliography.‎

‎Catalogue of works by Lorenzo Monaco and his workshop, and of works attributed to him. With documentation, bibliography. Text in English‎

‎Pontormo at San Lorenzo. The Making and Meaning of a Lost Renaissance Masterpiece‎

‎, Brepols - Harvey Miller, 2022 Hardback, 384 pages, Size:225 x 300 mm, Illustrations:58 b/w, 90 col., 2 tables b/w., Language(s):English, Italian. ISBN 9781909400948.‎

‎Summary Pontormo's frescoes in San Lorenzo were the most important cycle of the sixteenth century after Michelangelo's Sistine frescoes.? They had an enormous impact on artists until their destruction in the eighteenth century, and their interpretation has also had a significant bearing not only on the reception of this artist, but also of late Renaissance art in Florence. Based on archival and historical research, this book determines a new date for the inception of the fresco cycle and reconstructs the day-by-day activity in the church that had an impact on Pontormo's project. ?It reveals Pontormo's painstaking working method. The new reconstruction corrects the visual order of the frescoed scenes, and conclusively demonstrates the orthodoxy of the choir's iconography.? It sets them into the artistic and architectural context of the church of San Lorenzo, relating them to works of art by Fra Bartolomeo and Michelangelo, as well as to complex liturgical and religious functions.? This study establishes the intentions of the Medici and the canons of the church in having Pontormo paint the specific space in the church where he painted, and the specific subjects that were included.? Finally, it reveals the unsuspected impact Pontormo's paintings had on other works of art. TABLE OF CONTENTS INTRODUCTION: The introduction explains the history and historiography of both Pontormo in general and this commission in particular. CHAPTER 1: LIFE AND DEATH IN THE CHOIR Can we re-imagine the day-to-day progress of the commission? Beginning with a re-dating of the project, I shall trace the practical realities of daily painting in the choir, the comings and goings of artists and people: the ?world? of the choir will be explored. The frequent trope of Pontormo as an isolated loner and painfully slow artist will be disproved. The close supervision of the major stakeholders for the project, the Duke and the church, will be demonstrated. CHAPTER 2: REVERSALS OF FORTUNE My discovery that Pontormo reversed his preliminary sketches when they were scaled up into full-scale cartoons has demonstrated that several of the extant drawings used to reconstruct the choir must be inverted. Adjusting the reconstruction to take this into account resolves issues of visual, thematic, and iconographic coherence which have perplexed scholars. Essential elements in my new reconstruction reveal new and unexpected functions and meanings for Pontormo's paintings. These functions and iconographical connections place the lost paintings in a new light in relation to the fabric of the church of San Lorenzo. CHAPTER 3: LAWRENCE'S ACTS and CHAPTER 4: CYCLES OF SALVATION In these two sections I explain the significance of the frescoes. The first chapter focuses on the end wall, which was the public view of the choir and on which Pontormo's painting of Saint Lawrence provided a personal message of salvation to viewers. The second of these two chapters explains the entire set of images. This is the first time a seamlessly cohesive and inclusive interpretation of the cycle has been found. The new textual associations supplied in these chapters establishe that far from being of questionable orthodoxy, Pontormo's frescoes were a brilliant encapsulation of the functions of the choir. CHAPTER 5: THEN AND NOW: PONTORMO'S PLACE IN HISTORY Vasari's comments about the San Lorenzo commission in the Life of Pontormo created a negative view. This chapter corrects that, and replaces it with an appreciation of the gigantic task he confronted, the brilliance of his solutions, and the positive reception he and his paintings received.‎

‎Alessandro Lonchamps Lorenzo Franciosino. La nouissima grammatica delle lingue ‎

‎Alessandro Lonchamps Lorenzo Franciosino. La nouissima grammatica delle lingue italiana franzese e spagnuola cioe la franzese e litaliana di Giovanni Alessandro Lonchamps e la spagnuola di Lorenzo Franciosino In Italian (ask us if in doubt)/Alessandro Lonchamps Lorenzo Franciosino. La nouissima grammatica delle tre lingue italiana franzese e spagnuola cioe la franzese e litaliana di Giovanni Alessandro Lonchamps e la spagnuola di Lorenzo Franciosino. Opera profitteuole a chi desidera imparare fondatamente con breuita a legg Short description: In Italian (ask us if in doubt).In Italian French Venetia 1667. 441c. 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. SKUalb276e7ed712208682‎

‎Felsina pittrice: The Lives of Francesco Francia and Lorenzo Costa‎

‎, Brepols - Harvey Miller, 2022 Hardback, xxxiv + 410 pages, Size:220 x 280 mm, Illustrations:14 b/w, 163 col., Language(s):English, Italian. ISBN 9781912554799.‎

‎Summary In Bologna, Giorgio Vasari's maniera moderna is inaugurated through the art of the goldsmith-painter Francesco Francia (c.1447-1517). Malvasia assimilates the beginning of this new era with the end of night and the crack of dawn, when never before seen colors are revealed to the eyes with extraordinary intensity. In his life of Francia, Vasari had acknowledged the role of precursor played by this Bolognese master in the history of Italian painting. By the same token, he had tarnished Francia's reputation by alleging that he had died soon after unpacking Raphael's Ecstasy of Saint Cecilia upon its arrival in Bologna. His death, Vasari insisted, was a moment of reckoning: it was then that Francia recognized his artistic inferiority and damnation with regard not only to Raphael, but also to the highest achievements of the maniera moderna. Aware of the historical validity of Vasari's account, Malvasia ?lifted? it wholesale into his Felsina pittrice, but not without bringing its author to trial by examining his biased testimony in light of the rich documentary evidence he had gathered against his narrative. Equipped with the most refined tools of forensic eloquence, seething with outrage, Malvasia is at his best in challenging Vasari's historical distortions and prejudices not only in connection with Francia, but also his disciples, Timoteo Viti (1469-1523), Lorenzo Costa (1460-1535), and Giovanni Maria Chiodarolo (1480-1530). Denouncing Vasari's silence about the works and importance of Francia's progeny--in particular Giacomo (1484-1557) and Giovan Battista Francia--Malvasia explains how the activity of these masters promoted the education and social status of painters in Bologna before the foundation of the Carracci Academy in 1582. Illustrated with numerous color images (many of them taken expressly for this publication), this volume provides a critical edition and annotated translation of Malvasia's lives of Francia and his disciples, among them prominently Costa. The integral transcription (for the first time) in this volume of Malvasia's preparatory notes (Scritti originali) to the lives of Francia, Costa, and Chiodarolo presents important material that could foster the study of Bolognese painting in the age of humanism under the rulership of the Bentivoglio.‎