‎ANONYME‎
‎LORENZO‎

‎Autour de Lorenzo Veneziano. Fragments de Polyptyques VÃnitiens du XIVe siÚcle‎

‎Marchi, Andrea de and Cristina Guarnieri: Autour de Lorenzo Veneziano. Fragments de Polyptyques VÃnitiens du XIVe siÚcle. Exhibition: Tours, MusÃe 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

‎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

‎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.‎

‎Seconda Novissima Editione Delle Imagini De Gli Dei Delli Antichi di Vicenzo Cartari Reggiano. Ridotte da capo a piedi alle loro reali, & non pi per l'adietro osservate simiglianze. Cavate da' Marmi, Bronzi, Medaglie, Gioie & altre memorie antiche ; con esquisito studio & particolare diligenza da Lorenzo Pignoria Padovano. Aggiontevi le Annotationi del medesimo sopra tutta l'opera, & un discorso intorno le Deit‡ dell'Indie Orientali, & Occidentali, [Ö].‎

‎Padoue, Pietro Paolo Tozzi, 1626 In-8 de (16) ff., 589 pp., vÈlin ivoire, dos lisse, titre dorÈ, tranches bleues (reliure de l'Èpoque).‎

‎Nouvelle Èdition padouane, augmentÈe, d'un des plus populaires traitÈs de mythographie et d'iconologie des XVIe et XVIIe siËcles. Pietro Paolo Tozzi reprend ici et enrichit l'impression qu'il avait donnÈe en 1615. Au texte de Vicenzo Cartari, publiÈ originellement en 1556 et quinze plus tard dans sa premiËre version illustrÈe, ce volume offre plusieurs addenda importants. Il s'agit des Annotations et des SupplÈments, ainsi que les images des dieux des Indes occidentales et orientales, c'est-‡-dire essentiellement du Mexique et du Japon, de l'antiquaire padouan Lorenzo Pignoria (1571-1631). Cette Seconda Novissima Editione est illustrÈe de 240 figures gravÈes sur bois, dont deux hors texte dÈpliantes. Titre en rouge et noir ornÈ d'une vignette ; bandeaux, lettrines et culs-de-lampe sur bois. Chaque planche bordÈe d'un trait carrÈ et accompagnÈe de quelques lignes d'explication est prÈsentÈe au sein d'un large encadrement typographique. Un intermÈdiaire essentiel dans la vulgarisation des traditions religieuses de l'AntiquitÈ. C'est avec les Images des dieux que Vicenzo Cartari (1531 - aprËs 1571), mythographe liÈ au cercle d'humanistes vÈnitiens groupÈs autour de l'ArÈtin, et auteur Ègalement d'une traduction des Fastes d'Ovide, Ètablit solidement sa rÈputation. Pour cet ouvrage, Cartari utilise les auteurs classiques - Philostrate, HomËre, Virgile, Ovide, Catulle, Pline, ApulÈe, etc. -, citÈs le plus souvent ‡ travers les humanistes de la gÈnÈration prÈcÈdente, mais aussi les scoliastes et les compilateurs du Moyen-¬ge. "Le premier rÈsultat de ce mÈlange des sources est l'Ètonnante proportion des divinitÈs barbares, ou pseudo-antiques" (Seznec). ConÁues essentiellement d'aprËs les descriptions textuelles de Cartari et s'inspirant des HiÈroglyphiques de Piero Valeriano, des Inscriptiones de Petrus Apianus, du livre attribuÈ ‡ Horus Apollo publiÈ par Alde Manuce, des EmblËmes d'Alciat ainsi que des mÈdailles reproduites par du Choul dans la Religion des anciens Romains, les gravures donnÈes par Bolognino Zaltieri en 1571, seront rÈguliËrement reprises et dÈmarquÈes. Le succËs des Immagini degli Dei antichi est attestÈ par de nombreuses Èditions. Lomazzo dans son TraitÈ de la Peinture recommande la lecture de ce manuel commode et savant ‡ la fois qui permet "de reproduire sans erreur et sans omission les formes qui passent dÈsormais pour un ÈlÈment essentiel de l'art ; une mythologie extraite des auteurs les moins courants, enrichie des apports les plus bizarres, donnant l'occasion ‡ l'artiste d'Ètaler son savoir, au public d'exercer sa subtilitÈ" (Seznec). Des emprunts directs ‡ Cartari peuvent Ítre identifiÈs, d'une part dans les dÈcors ÈphÈmËres des fÍtes curiales florentines, et d'autre part dans de cÈlËbres cycles picturaux aux allÈgories complexes : par exemple ceux du Palazzo Vecchio ‡ Florence par Vasari, du Palais FarnËse de Caprarola par Taddeo Zuccari, mais aussi certaines úuvres du Tintoret ‡ Venise, ou de VÈronËse dans les villas palladiennes. TrËs bel exemplaire en vÈlin de l'Èpoque. Jean Seznec, La Survivance des dieux antiques, pp. 268-357.‎