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This intriguing book investigates the very rare discovery of a huge, lost, Last Supper painting produced in the workshop of Tiziano Vecellio, known as Titian. The discoloured canvas hung neglected in a parish church for 110 years until the conservator and art historian Ronald Moore removed centuries of discoloured varnish and began to appreciate that something exceptional was being revealed. Following extensive scientific examination, signatures and dates appeared whilst it also became apparent that some faces were actually portraits.The early history of the painting in a Venetian convent was discovered with the enthusiastic help of the modern Venetian, Count Francesco da Mosto, whose family knew Titian. The many painters of Titian's workshop are considered with careful circumspection to determine possible contributors to the Last Supper and the remarkable reason for the many changes, or pentimenti, are explained. After 10,500 hours of research and the translation of countless Italian documents and books, the full history of the painting has been revealed. We now know that the painting is far more than a Last Supper from Titian's workshop, painted by at least five artists over twenty years, but is actually a painting within a painting involving other prominent painters and a denouement unparalleled in Renaissance art.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
A unique novel about life in a 14th-century convent by one of England's most original authors. Sylvia Townsend Warner’s The Corner That Held Them is a historical novel like no other, one that immerses the reader in the dailiness of history, rather than history as the given sequence of events that, in time, it comes to seem. Time ebbs and flows and characters come and go in this novel, set in the era of the Black Death, about a Benedictine convent of no great note. The nuns do their chores, and seek to maintain and improve the fabric of their house and chapel, and struggle with each other and with themselves. The book that emerges is a picture of a world run by women but also a story—stirring, disturbing, witty, utterly entrancing—of a community. What is the life of a community and how does it support, or constrain, a real humanity? How do we live through it and it through us? These are among the deep questions that lie behind this rare triumph of the novelist’s art.
From the author of the #1 New York Times bestseller The Monuments Men: "An astonishing account of a little-known American effort to save Italy's…art during World War II." —Tom Brokaw When Hitler’s armies occupied Italy in 1943, they also seized control of mankind’s greatest cultural treasures. As they had done throughout Europe, the Nazis could now plunder the masterpieces of the Renaissance, the treasures of the Vatican, and the antiquities of the Roman Empire. On the eve of the Allied invasion, General Dwight Eisenhower empowered a new kind of soldier to protect these historic riches. In May 1944 two unlikely American heroes—artist Deane Keller and scholar Fred Hartt—embarked from Naples on the treasure hunt of a lifetime, tracking billions of dollars of missing art, including works by Michelangelo, Donatello, Titian, Caravaggio, and Botticelli. With the German army retreating up the Italian peninsula, orders came from the highest levels of the Nazi government to transport truckloads of art north across the border into the Reich. Standing in the way was General Karl Wolff, a top-level Nazi officer. As German forces blew up the magnificent bridges of Florence, General Wolff commandeered the great collections of the Uffizi Gallery and Pitti Palace, later risking his life to negotiate a secret Nazi surrender with American spymaster Allen Dulles. Brilliantly researched and vividly written, the New York Times bestselling Saving Italy brings readers from Milan and the near destruction of The Last Supper to the inner sanctum of the Vatican and behind closed doors with the preeminent Allied and Axis leaders: Roosevelt, Eisenhower, and Churchill; Hitler, Göring, and Himmler. An unforgettable story of epic thievery and political intrigue, Saving Italy is a testament to heroism on behalf of art, culture, and history.
Recounts the astonishing story of this lost Titian masterpiece, now on view in Venice for the first time since its restoration This book recounts the fascinating history of Titian's unfinished portrait, A Lady and her Daughter (possibly his mistress Milia and their daughter), which dates from the early 1550s. After Titian's death in 1576, it was repainted in his studio with a more saleable image of Tobias and the Angel. Often presented as Titian's work but in a style which made the attribution suspect, the painting has had a succession of owners. It belonged to Tsar Nicholas I for a short time, and ultimately to the art dealer René Gimpel, who hid it with other artwork in a warehouse in London during World War II, where it miraculously survived the Blitz. It was not until the mid-20th century that an x-ray examination uncovered the beautiful painting underneath, an undisputed work by the great master himself. The painstaking restoration process, begun in 1983, took 20 years. Notable art historians and conservators have contributed essays that offer an in-depth examination of this exceptional and mysterious painting.
The Widdershins Adventures come to a thrilling conclusion in an action-packed fantasy in which the young outlaw with a heart of gold (and the pesky voice of a god in her ear) returns home to face her destiny... After almost a year away from the grand city of Davillon, wandering thief Widdershins has finally come to terms with the pain and grief that drove her to leave. When she returns, all she can hope is that her old friends can forgive her hasty actions. But even that may be too much to ask...because home is not what it used to be. The entire city is on edge, with unrest and rumors of upheaval spreading through the darkened streets, and Shins is shocked to discover that she already knows the person behind the strife all too well—her dreaded nemesis, Lisette Suvagne. Thanks to an unholy bargain with otherworldly powers, the vindictive Lisette is far more dangerous than before—and far too formidable even for Shins and her personal god, Olgun, to confront alone. Now, for the sake of her friends, her city, and her own soul, Shins must gather allies from every corner of Davillon—lawful, unlawful, and seriously unlawful—if she hopes to face the greatest challenge of her life. Because the greatest challenge of Widdershins’ life might also be the end of it...
Waiting to be rediscovered in the British Library is an ancient manuscript of the early Church, copied by an anonymous monk. The manuscript is at least 1,450 years old, possibly dating to the first century. And now, The Lost Gospel provides the first ever translation from Syriac into English of this unique document that tells the inside story of Jesus’ social, family, and political life.The Lost Gospel takes the reader on an unparalleled historical adventure through a paradigm shifting manuscript. What the authors eventually discover is as astounding as it is surprising: the confirmation of Jesus’ marriage to Mary Magdalene; the names of their two children; the towering presence of Mary Magdalene; a previously unknown plot on Jesus’ life (thirteen years prior to the crucifixion); an assassination attempt against Mary Magdalene and their children; Jesus’ connection to political figures at the highest level of the Roman Empire; and a religious movement that antedates that of Paul—the Church of Mary Magdalene.Part historical detective story, part modern adventure, The Lost Gospel reveals secrets that have been hiding in plain sight for millennia.
An exploration of the influence of the charismatic Milanese art theorist on his contemporaries in the field of drawing, painting, printmaking, decorative arts, and sculpture.
"For nearly four decades in the sixteenth century, the careers of Renaissance Venice's three greatest painters - Titian, Tintoretto, and Veronese - overlapped, encouraging mutual influences and bitter rivalries that changed the course of art history. Venice was then among Europe's richest cities, and its plentiful commissions fostered an exceptionally fertile and innovative climate. In this environment, the three artists - brilliant, ambitious, and fiercely competitive - vied with each other for primacy, deploying the new combination of oil on canvas, with its unique expressive possibilities, and such new approaches as a personal and identifiable signature touch. They also pioneered the use of easel painting, a newly portable format that allowed for unprecedented fame in their lifetimes. With more than 160 stunning examples by the three masters and their contemporaries, Titian, Tintoretto, Veronese elucidates the technical and aesthetic innovations that helped define the "Venetian style"--Characterized by loose technique. rich coloring, and often sensual subject matter - as well as the social, political, and economic context in which it flourished. Essays range from examinations of new approaches to studies of such crucial institutions as state commissions and the private patronage system. Most of all, by concentrating on the lives and careers of Venice's three greatest painters, the volume presents a vibrant human portrait - one brimming with intense competition, one-upmanship, humor, and passion."--Jacket.