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Liechtenstein is one of the smallest European states, a principality situated between Austria and Switzerland in the Upper Rhine Valley. The nation is less than three hundred years old, but the ruling family, whose name it bears, traces its lineage back to the twelfth century. For successive generations, members of the Princely House of Liechtenstein have been devoted art collectors. With a high degree of appreciation of artistic achievement, they have pursued a centuries-long family tradition of acquiring not only great paintings and sculpture but also rare firearms, fine porcelain, and other works of art. The result of this tradition is a collection of masterpieces that in its depth and breadth reflects more than four hundred years of European history and ranks among the world's greatest private collections. This publication accompanies an exhibition at The Metropolitan Museum of Art that marked the first time the masterpieces from this private collection were put on public display. The rich and varied array of paintings, sculpture, and other works included in this exhibition not only represents the paradigm of a great European princely collection, but also has the added distinction of being the collection of the only surviving monarchy of the Holy Roman Empire. -- Metropolitan Museum of Art website.
Pieter Coecke van Aelst (1502 – 1550) was renowned throughout Renaissance Europe as a draftsman, painter, and publisher of architectural treatises. The magnificent tapestries he designed were acquired by the wealthiest clients of the day, up to and including rulers such as Emperor Charles V, King Francis I of France, King Henry VIII of England, and Grand Duke Cosimo I de’ Medici of Tuscany. At the same time, Coecke was remarkable not only for the complexity and unparalleled quality of his tapestries, but also for his fluency in various media: this lavishly illustrated volume examines the full range of his work, from tapestry and stained-glass window designs to panel paintings, prints, drawings, and architectural treatises. Though only forty-eight when he died, Coecke was one of the greatest Netherlandish artists of the sixteenth century. His paintings and drawings, initially wrought in the style of the Antwerp Mannerists, evolved through his enthusiastic response to Italian Renaissance design, and influenced generations of artists in his wake. This comprehensive study explores Coecke’s stylistic development, as well as his substantial contribution to the body of great Renaissance art in Flanders. Featuring twenty monumental tapestries, along with many of their cartoons and preparatory sketches, plus seven paintings, additional drawings, and printed matter—many of them newly photographed for this volume—Grand Design provides a thorough reappraisal of Coecke’s work, amply justifying the high regard in which Coecke’s work was held and its wide dissemination long after his death.