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The story behind the timeless Renaissance revealed.
Contains nearly three hundred photographs taken by Takashi Okamura showing the entire Ceiling, individual panels showing such scenes as the Creation of Adam and the Deluge, and details of prophets, sibyls, nudes, and other stunning figures.
Hailed as "the most radical repackaging of the Bible since Gutenberg", these Pocket Canons give an up-close look at each book of the Bible.
Michelangelo's frescoes on the Vatican's Sistine Chapel ceiling are arguably one of the greatest masterpieces of western art. The text and color images in this volume together explore central themes concerning this extraordinary fresco style, bringing information into focus for the general reader and for the tens of thousands of people who visit this masterpiece yearly. 36 color plates.
Some decades before Michelangelo began work on the Sistine Chapel ceiling, such masters as Botticelli, Ghirlandaio, Perugino, and Signorelli were called to Rome by Pope Sixtus IV to decorate the walls. By 1483, these painters had completed two monumental fresco cycles illustrating the lives of Moses and Christ - works of complex, and sometimes puzzling, iconography. Carol F. Lewine shows that many long-standing questions posed by these Renaissance masterpieces can be resolved by systematic investigation of their undoubted links with the Roman liturgy. Her reconstruction of the scheme by which liturgical themes of the weeks between Christmas and Ascension Thursday are mirrored in the subjects of these frescoes has revealed, unexpectedly, that within this program the primary emphasis is on the liturgy of Lent, often on the Lenten liturgy of the early church, and on such Lenten themes as baptism and penitence. The discovery that these frescoes also refer to the Babylonian Captivity of the Jews, another ancient Lenten theme, suggests that Sixtus IV created the papal chapel that bears his name in order to commemorate the return of the popes from their "Babylonian Captivity" at Avignon. This exile ended in 1377, approximately one hundred years before Sixtus began to plan the major artistic enterprise of his pontificate. Lewine's approach to the interpretation of visual images in terms of their liturgical significance is in itself important and her argument, grounded in close visual inspection of the paintings, is ingenious and provocative. Her analyses of the interactions among narrative and symbol, text and image, form and meaning, offer stimulating contributions to quattrocento studies and encourage further consideration of all the decoration of the Sistine Chapel, together, as parts of an evolving ensemble.
The Santa Maria Antiqua Complex in the Forum in Rome was probably established at the foot of the Palatine Hill in the 6th century. Over the following 600 years it was decorated with a unique series of frescoes bearing evidence of imperial, papal and monastic influences. Abandoned in the 9th century, limited use probably continued up to the 11th century. By the 17th century the complex was completely buried under the rising floor of the Forum. Excavations in 1900 exposed a largely intact complex containing hundreds of 6th-11th century frescoes, in some places over four layers deep and a unique Chapel of Medical Saints which suggests this was also an incubation site. The English Press hailed the site as the 'Sistine Chapel of the Ninth century'. Lavish illustrations of these frescoes, following recent restoration, make this book an indispensible resource, not only for those working on the church but also for those interested in contemporaneous material in medieval sites especially in Rome, Europe and Byzantium. This monograph contains the proceedings of an International Conference held at the British School at Rome on 4-6 December, 2013. It reports results of the major project of preservation and research led by the Soprintendenza and carried out over the last 12 years on the fabric of the church, its frescoes, floor, wall and ceiling mosaics, its drainage and infrastructure. Much of the restoration was funded by the World Monuments Fund. The conference also marked the 75th anniversary of the death of Gordon Rushforth, the first Director of the British School at Rome and the author of one of the earliest key papers on the S. Maria Antiqua site.
Five hundred years ago Michelangelo began work on a painting that became one of the most famous pieces of art in the world—the Sistine Chapel ceiling. Every year millions of people come to see Michelangelo's Sistine ceiling, which is the largest fresco painting on earth in the holiest of Christianity's chapels; yet there is not one single Christian image in this vast, magnificent artwork. The Sistine Secrets tells the fascinating story of how Michelangelo embedded messages of brotherhood, tolerance, and freethinking in his painting to encourage "fellow travelers" to challenge the repressive Roman Catholic Church of his time. "Driven by the truths he had come to recognize during his years of study in private nontraditional schooling in Florence, truths rooted in his involvement with Judaic texts as well as Kabbalistic training that conflicted with approved Christian doctrine, Michelangelo needed to find a way to let viewers discern what he truly believed. He could not allow the Church to forever silence his soul. And what the Church would not permit him to communicate openly, he ingeniously found a way to convey to those diligent enough to learn his secret language."—from the Preface Blech and Doliner reveal what Michelangelo meant in the angelic representations that brilliantly mocked his papal patron, how he managed to sneak unorthodox heresies into his ostensibly pious portrayals, and how he was able to fulfill his lifelong ambition to bridge the wisdom of science with the strictures of faith. The Sistine Secrets unearths secrets that have remained hidden in plain sight for centuries.
Shows and describes Vatican paintings in chronological order, from the Middle Ages to the eighteenth century, including works by Giotto, Bellini, da Vinci, Caravaggio, Poussin, Titian, and Michelangelo
Looking at more than two hundred Italian medieval and Renaissance mural cycles, Lavin examines—with the aid of computer technology—the "rearranged" chronologies of familiar religious stories found therein. "Like many masterpieces, Lavin's book builds upon a simple idea . . . it is possible to do a computer analysis of . . . visual narratives. . . . This is the first computer-based study of the visual arts of which I am aware that illustrates how those technologies can utterly transform the study of old master art. An extremely important book, one likely to become the most influential recent study of art of this period, The Place of Narrative is also a beautiful artifact."—David Carrier, Leonardo "Covering over a millennium and dealing with the whole of Italy, Lavin makes pioneering use of new methodology employing a computer database . . . [and] novel terminology to describe the disposition of scenes of church and chapel walls. . . . We should recognize this as a book of high seriousness which reaches out into new areas and which will fruitfully stimulate much thought on a neglected subject of very considerable significance."—Julian Gardner, Burlington Magazine