‎FRAGONARD ‎

‎Principauté de Monaco Les Documents d'Art 1941 in 4 (27,5x22) 1 volume reliure façon demi velin ivoire, dos lisse, titre finement calligraphié, couverture illustrée conservée, 112 pages [2], avec de nombreuses illustrations, dont planches en couleurs contrecollées. Collection '' Les Documents d'Art ''. Tirage limité, celui-ci des 1300 exemplaires numérotés. Henri Algoud, conservateur du Musée Fragonard à Grasse. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Reliure ‎

‎JAN VAN KESSEL (1641-1680), catalogue raisonne. ‎

‎, Davaco, Aetas Aurea, Vol. X, 1993, Cloth bound with dusjacket, 4to. VIII, 335 pp. text and 411 ills. on 244 plts. (11 in color). fine condition! ISBN 9070288818.‎

‎JAN VAN KESSEL is a monograph and catalogue raisonne introducing a little-known but talented Amsterdam follower of Jacob van Ruisdael. Many art professionals outside of the speciality of seventeenth- century Dutch landscape do not realize that he existed, with the result that his works sometimes are assigned to the contemporary (but unrelated) Antwerp painter of the same name. The monograph text starts with a critique of the artist's reception to date, both in terms of the public exhibition of his work and the appraisals of him in scholarly literature. Next, his biography is updated using primary and secondary sources, including un-published data from the Amsterdam Municipal Archives. Then, Jan van Kessel's paintings and drawings are given a general introduction, with special attention paid to the development that occurred in the way he signed his name. The main body of the monograph is devoted to his art, presented chronologically from the artist's documented start in 1661 until his early death in 1680. The catalogue raisonne contains fully documented entries with discussions up to a thousand words in lenght. The 290 works catalogued are organized into six sections: Authentic, Problematic, Doubtful Paintings, Authentic Drawings, Problematic Drawings, Doubtful Drawings (26). As new!‎

‎Medieval Monastery of Saint Elijah: A History in Paint and Stone‎

‎, Brepols, 2021 Hardback, 432 pages, Size:225 x 280 mm, Illustrations:10 b/w, 150 col., 2 tables b/w., 1 maps b/w, Language: English. ISBN 9782503589435.‎

‎Summary Blending innovative art historical analysis with archaeology, epigraphy, history, liturgy, theology, and landscape and memory studies, The Medieval Monastery of Saint Elijah: A History in Paint and Stone is the first comprehensive interdisciplinary study of a deeply intelligent yet understudied male Benedictine convent near Rome. The only monastery known to have been dedicated to the prophet Elijah in the Latin West, it was rebuilt c.1122-26 with papal patronage. Today, the monastery is represented by its church of Sant'Elia, a stone basilica endowed with its original Cosmati marble pavement and liturgical furnishings, early and high medieval sculptures and inscriptions, and vibrant wall paintings that include unique depictions of the prophet Elijah and the twelve tribes of Israel as warriors, an apse program with a distinctly elite Roman origin, and an important narrative cycle of the Apocalypse. An outlying chapel marks the site of a theophany that sanctified the landscape and gave the monastery its raison d' tre. The Medieval Monastery of Saint Elijah makes significant contributions to current art historical debates concerning communal identity and the construction of social memory, artistic creativity and processes, the multisensory and exegetical capacities of works of visual art, intersections of topography and sanctity, and the effects of medievalism on our understanding of the Middle Ages. TABLE OF CONTENTS Introduction: 1769/2019 Chapter One: Recovering the Romanesque Monastery The Monastery Today Reversing Time's Arrow at the Church of Sant'Elia The Twelfth-Century Corpus Conclusion Chapter Two: vetustum monasterium Sancti Heliae A Sacred Landscape Remembering Abbots Past From Temple to Church, or, Building Like Benedict Conclusion Chapter Three: The Materiality of Memory Representation versus Materiality The Crypt as locus antiquior Promoting Cult, Protecting Community Conclusion Chapter Four: The Monk as the New Elijah In the Name of Elijah In the Image of Elijah Prophets as Models At the Altar of Elijah Conclusion Chapter Five: Seeing Apocalypse at Sant'Elia Painting the Apocalypse John the Revelator Conclusion Chapter Six: Why the Apocalypse? Exegetical Images The Politics of Apocalypse Conclusion Chapter Seven: A Papal Church in Lazio A Basilica Reformed The Images around the Altar Establishing the Papal Perimeter Conclusion Conclusion: Bovo famulus tuus‎

‎TREASURES OF RUSSIAN ART OF THE 11TH-16TH CENTURIES.‎

‎Leningrad , Aurora, 1970 Bound, cloth, illustrated paper jacket, 200 x 280 mm., 288 pp., profoundly illustrated in colour and b/w.‎

‎Dedication from former owner on title page. Beautiful book, in good condition.‎

‎DIE DRESDNER GALERIE. Alte meister ‎

‎Dresden ( Dresde ) VEB Verlag der Kunst 1975 in 4 (27,5x24,5) 1 volume reliure toilée bleue de l'éditeur sous jaquette illustrée en couleurs, 433 pages [1], avec de nombreuses illustrations en noir et blanc, et en couleurs, dont hors-texte, étui. Texte en langue allemande. Très bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Jaquette en très bon état Couverture rigide Ed. limitée ‎

‎DIE DRESDNER GALERIE. ALTE MEISTER.‎

‎Dresden, Verlag der Kunst, 1966 Gebunden, Leinen mit Schutzumschlag, 230 x 275mm., 428S., illustriert.‎

‎Alpatow : Die Dresdner Galerie - Tafeln - Stimmen uber die Dresdner Galerie. Deutsche Stimmen. Russische Stimmen. Franzosische Stimmen. Anmerkungen - Abbildungsverzeichnis - Register. Guter Zustand.‎

‎HET VROEGSTE WERK VAN RUBENS.‎

‎, Brussel, Paleis der Academien, 1972. (db)., Gebrocheerd, originele uitgeversomslag beduimeld, 18x26cm, 23pp + 35 platen z/w.‎

‎Medelingen van de Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van Belgie. Klasse der Schone Kunsten, jaargang XXXIV, n? 2.‎

‎CHEF-LIEU: LA TERRE. Avec une couverture illustrée d'un dessin de Bernard Buffet ‎

‎Paris Pierre Seghers, Editeur 1959 in 12 (19x12,5) 1 volume broché, couverture illustrée d'un dessin de Bernard Buffet, 72 pages [3]. Edition originale tirée à 625 exemplaires numérotés, celui-ci un des 600 exemplaires numérotés (après 25 exemplaires sur Hollande). Bel exemplaire ‎

‎Très bon Ed. numérotée ‎

‎VINCENT VAN GOGH.‎

‎, Paris, Imprimerie des Arts et Manufactures, 1988,, relie en toile verte sous jacquette d'editeur illustree, frontispice, 245 x 345mm., 108pp., illustrations en couleurs hors texto et b/n in texto ISBN 9782867600173.‎

‎Texte francais par Pierre Crevecoeur. Introduction. Illustrations. Chronique de la vie. Table des illustrations. Bon etat.‎

‎Harvey Miller. Painting Restoration before - La Restauration - The Origins of the Profession in France,‎

‎Turnhout, Brepols, 2012 Hardback, 320 p., 240 b/w ill., 23,8 x 28. ISBN 9781905375349.‎

‎During the latter half of the eighteenth century, especially the period around and just after the French Revolution, what was happening in France in the field of painting restoration influenced all of Europe. In 1750 the museum in the Luxembourg Palace in Paris was opened to the public, and it became necessary to display to the public paintings which had been in storage for years. In the following decades King Louis XVI and his advisor, the Comte d'Angiviller, developed and enlarged the national collection of paintings. And with this came the need for painting restorers doing quality work - more than just the quick repairs as done by painters in the past - and several full-time painting restorers were employed. By the time the museum in the Louvre was opened to the public in 1793, in the midst of the French Revolution, the profession had been established. During the latter half of the eighteenth century, painting restoration techniques improved and French restorers began to travel to England and to other European countries more frequently, spreading their practical knowledge - especially about the lining and transfer of paintings. In Paris, a national concours was prepared to choose the most capable from a growing group of candidates, and in 1802 plans were drafted for a school of restoration. In this book the lives and careers of several of the more well-documented painting restorers for the French Royal Collection are traced one-by-one - including as much as possible about their restoration techniques. Languages : English.‎

‎Painting Restoration Before the Restauration. The Origins of the Profession in France, ‎

‎Turnhout, Brepols, 2012 Hardback, 320 p., 204 b/w ill., 240 x 280 mm. ISBN 9781905375349.‎

‎The art of painting restoration is almost as old as the art of painting itself. Accidents and time inevitably alter the appearance of a painting, and these changes begin as soon as it leaves the artist's easel. Purposeful alterations due to changes in taste have also contributed to transformations that paintings often underwent. Clearly the type of restoration procedures considered ethically acceptable have changed over the centuries. From the Renaissance until the end of the nineteenth century, European paintings were considered as two-dimensional illusions of a three-dimensional space, and any disruption to this illusion was considered as damage requiring repair. There was no acknowledgement of painting supports as an integral part of a picture; only the paint layer and the subject represented were appreciated. As a result, panels were often thinned and cradled in order to flatten the painted surface so that the image depicted could be viewed with less distraction. Supports were even considered replaceable. Total transfer of a painted surface onto a new surface was an acceptable procedure in the eighteenth century - even until the mid-twentieth century. Invisible retouching was used with the intent of returning the illusion of the painted surface to its 'original state'; the history of the work was not important. Until recent times, it was even acceptable to alter the format of a work of art to fit a frame or a space on the wall. Traditionally, if a painting was accidentally damaged or if 'adjustment' were required, a painter was entrusted with this task. In the past, the professions of painter and painting restorer overlapped, and both were trained as apprentices. Gradually the professional painting restorer appeared in Europe, and by the mid-eighteenth century, the profession was established. Earlier examples of professional restorers, especially in Italy, have been recorded while in other European countries, such as Britain, the career of the professional painting restorer began much later. During the later part of the eighteenth century in France, the painting restorers of the French Royal Collection became celebrated throughout Europe for their achievements. The political situation had an important influence on the development of the profession in France. The reigns of Francois I (1515-47), Louis XIV (1643-1715), Louis XVI (1774-93), and then the coup d'etat by Napoleon Bonaparte and the First Napoleonic Empire (1804-14) led to an increasing centralisation of the French Empire. The arts were meant to reflect the power of the state; thus Louis XIV and his political advisor and Surintendent from 1661 to 1685, Jean-Baptiste Colbert (1619-83), became the patrons of the French Academie de Peinture et Sculpture founded in 1648. A revision of the Academy's statutes in 1665 required students to submit annually drawings that focused on the heroic actions of the king. Paintings conferred status on their owner - in this instance the king and the French nation. It then became a necessity to have the paintings on display looking their best, and the skill of the French painting restorers was even used as a justification for Napoleon's policy of confiscation of works of art from all over Europe. The relationship between the French government's administration, firstly under the Ancien Regime, then under the new Republic, and the painting restorers they employed and supervised is related in this book. The manner in which changes occurred involves colourful personalities whose stories are often amusing and sometimes poignant, but above all they help us to understand the present-day situation. For during the turbulent years of the French Revolution new patterns emerged, which to a large extent remained in place in France for over two centuries. New book.‎

‎Re-Making the Margin. The Master of the David Scenes and Flemish Manuscript Painting around 1500‎

‎Turnhout, Brepols, 2012 Hardback, 250 pages., 150 b/w ill. + 32 colour ill., 210 x 297 mm. ISBN 9782503516844.‎

‎The subject of the present publication is the working practices of the Ghent-Bruges illuminators, active in Flanders in the decades around 1500. Its focus is on manuscripts featuring freestanding, isolated motifs painted in the margins of text pages. The author traces how this decorative system was created by the Master of the David Scenes in the Grimani Breviary, a prolific inventor of appealing borders; how it was applied by his closest collaborators, and how it was imitated and adapted by other illuminators. Among these were Simon Bening, the Carmelite sister Cornelia van Wulfschkercke, and a number of anonymous masters, including several whose oeuvres are identified here for the first time. The author elucidates the sources for the isolated motifs and demonstrates how the codicological structure of the manuscripts provides insight into the use and the dispersion of various models for border decorations. The book discusses the famous strewn-flower borders and other types of fully decorated borders as well. The author analyses the isolated motifs in relationship to the page lay-out and the decorative programme of Ghent-Bruges standardised books of hours. The stylistic examination of both the miniatures and the borders of the manuscripts under discussion completes the integrated approach of this study. The author demonstrates how the illuminators collaborated with each other and exchanged artistic models for the illumination of these precious manuscripts. Languages: English.‎

‎Henri IV Series Corpus Rubenianum Ludwig Burchard 14.2 / RUBENS.‎

‎, Brepols - Harvey Miller, 2017 Hardcover with dusjacket. 484 p., 121 b/w ill. + 23 colour ill., 180 x 265 mm, Languages: English. ISBN 9781909400962.‎

‎On 26 February 1622, in Paris, Rubens entered into a contractual agreement to execute two series of paintings, ?by his own hand?, intended to decorate the two parallel galleries of the Parisian palace ? the so-called Luxembourg Palace ? of Maria de? Medici, widow of Henri IV and mother of Louis XIII. Completed in 1625, the twenty-four monumental paintings of the western gallery exalting the life of the Queen Mother form a universally admired ensemble, on display at the Musee du Louvre for the last two centuries. However, the second part of this grand project, envisioned for the eastern gallery of the palace, was abandoned in 1630. The suspension and then premature termination of the project after the Queen Mother?s exile in July 1631 have deprived us of a work that would have been unique, both in its magnitude and in the artistic means Rubens deployed to glorify the royal couple. The Galerie Henri IV, planned as a commemoration of the king?s military victories and a celebration of his triumphs ?in the manner of the triumphs of the Romans? (as the contract has it), remains a puzzle whose missing pieces are more numerous than what is preserved. Still, some fifteen works ? preparatory oil-sketches on panel and large canvases, more or less completed ? have survived. It is above all through the study of these works that this volume aims to arrive at a better understanding of the context, the iconography, and the political significance of the Galerie Henri IV. Despite the frustration (for us, as for Rubens himself) of its abandonment, the unfinished project remains an extraordinary feat of Baroque encomium, and one of the artist?s greatest masterpieces. ‎

‎Un Regain de Traverse‎

‎Apeiron, 2011. 49pp. Petit In-8° broché, largement illustré avec des reproductions et photographies en N&B et en couleur. ‎

‎Bon état général. Intérieur frais et agréable. Quelques marques de stockage.‎

‎DIE GEMALDE DES 19. JAHRHUNDERTS IM WALLRAF-RICHARTZ-MUSEUM.‎

‎Koln, Wallraf-Richartz-Museum, 1964 Broschiert, originale Abdeckung Verlag in Farbe, 23.9x16.5 cm. 306 S., Abbildungen in S/W.‎

‎Kataloge des Wallraf-Richartz-Museum I.‎

‎LE PEINTRE WILLEM LINNIG, JUNIOR.‎

‎, Bruxelles, Belgique artistique et litteraire, 1907., Relie, 19x24,5cm, 75pp, illustre n/b.‎

‎Ouvrage illustre de 32 planches en phototypie suivi du catalogue de l' oeuvre complete de l' artiste par Ben. Lennig.‎

‎Le peintre Willem Linnig, Junior, suivi du Catalogue de l'oeuvre complète de l'artiste (par Ben. Linnig)‎

‎Bruxelles, La Belgique artistique et littéraire 1907 75pp. illustré de 32 planches en phototypie, tirage limité à 530 exemplaires, ceci est un des 500 ex. sur beau velin vergé, belle reliure demi-toile, titre doré au dos, 24cm., bon état, S94294‎

‎Maelwael Van Lymborch Studies 2‎

‎, Brepols, 2022 Hardback, 260 pages, Size:220 x 300 mm, Illustrations:360 col., Language: English.*new ISBN 9782503598949.‎

‎TABLE OF CONTENTS Prelude Pieter Roelofs ? Johan Maelwael & the Van Lymborch Brothers: New Perspectives Theme I: The Battle of Nicopolis and Burgundian Art Susie Nash ? The Martyrdom of St Denis, the Chartreuse de Champmol and the Battle of Nicopolis David de Bruijn Kops ? Pseudo-Arabic Inscriptions in the Work of Claus Sluter, Johan Maelwael, Henry Bellechose, and the Van Lymborch Brothers during the Post-Nicopolis Reign of Philip the Bold and John the Fearless, 1398-1419 Theme II: New, Unique Discoveries Rob D ckers ? An Unrecorded Book of Hours for Jean, Duke of Berry? Frits Scholten ? Claus Sluter in the Rijksmuseum Theme III: The Practice of Illuminators, Painters & Margin Decorators Ines Villela-Petit ? Painter versus Illuminator: Looking for Paul van Lymborch Ella Letort ? Plagues and Processions: Re-Examining the Drawings of Ms. Douce 144 Andr Stufkens and Jacobus Trijsburg ? The Seal and Blazon of Johan Maelwael Andr Stufkens ? The Exaltation of the Cross. A High Density of Meanings: From Africans to Zacharias Index‎

‎BENN : Les amis de l'œuvre du peintre Benn, texte collectif de André Chamson, Etienne Souriau, Jean Bancal, Armand Lanoux, Herbert le Porrier, Stéphane Rey. Maurice Serullaz, Julien Tardieu, Maurice Tassart, Charles Vildrac. ‎

‎ Klincksieck, Paris 1970 - bon état 1 vol.grand In-4. broché. bon état. sans pagination les amis de l'œuvre du peintre Benn, texte collectif de André Chamson, Etienne Souriau, Jean Bancal, Armand Lanoux, Herbert le Porrier, Stéphane Rey. Maurice Serullaz, Julien Tardieu, Maurice Tassart, Charles Vildrac. sans pagination‎

‎ Remise de 20% pour toutes commandes égales ou supérieures à 200 €‎

‎Stuart Davis A Catalogue Raisonn . 3vols.‎

‎, Yale University Press, 2007 Hardcover in decorative slipcase with dust jacket, 1574 pages, throughout colour illustrations, Language English, FINE, 3 vols set. ISBN 9780300109818.‎

‎The highly anticipated, definitive reference on Stuart Davis?s paintings, watercolors, drawings, and published illustrations Stuart Davis (1892?1964) made a mark on the art world early in his career, first with his Ashcan works and then with his highly personal version of Cubism, which firmly established American modernism as a force that could rival its European counterpart. Over the course of six decades, Davis produced artworks that drew inspiration from the European modernists but were deeply rooted in the popular culture of the United States. Jazz music and hipster talk, vaudeville stages, city streetscapes, New England fishing villages, gasoline stations, store fronts, and commercial packaging and advertising images were among the sources that infused his art with energy, bringing crisp edges, radiant color, and syncopated rhythms to a vast body of paintings, watercolors, and drawings. Documenting the life?s work of this prolific and highly influential artist?who affected almost every development in American art from second-generation Ashcan realism around 1912 to color field and geometric painting in the 1960s?is a monumental achievement. In these three volumes, the editors have catalogued 1,749 artworks by the artist?including more than 600 works never previously illustrated?providing extensive documentation and information about each one. A detailed chronology of Davis?s life, as well as an enlightening discussion of the compositional relationship between certain works spanning his oeuvre, rounds out this study. Exquisitely designed and produced, Stuart Davis: A Catalogue Raisonn will be the definitive reference on the artist?s work for many years to come‎

‎Piero Della Francesca - Les oeuvres‎

‎IT, Silvana , 2012 Hardcover, 240 pages, Text en Francais, 290 x 240 x 28 mm, Tres bon condition, jaquette illustre , illustrations / images en couleur / n/b, ISBN 9788836624645.‎

‎Cette monographie est dediee a un des plus grands artistes de la Renaissance italienne, Piero della Francesca (Borgo Sansepolcro, aux alentours 1416/1417-1492). Chaque oeuvre du maitre, du Bapteme du Christ a la Nativite conservees a la National Gallery, est presentee avec une image en pleine page et attentivement etudiee, tant du point de vue historique qu'esthetique, sans negliger les fortunes critiques au cours des siecles. Un interet particulier est reserve a la splendide serie de fresques, avec La legende de la Vraie Croix dans la basilique de San Francesco d'Arezzo, consideree comme son chef d'oeuvre. L'auteur, a qui nous devons les restaurations de la Chapelle, propose dans cette etude les resultats des interventions sur la moitie des surfaces peintes, accompagnes d'images des fresques apres restauration. Le volume represente un instrument complet et maniable pour tous ceux qui veulent se rapprocher de l'oeuvre de Piero della Francesca. ‎

‎Leon Spilliaert of de schoonheid van een wijs hart / ou la beaute de l'intelligence de coeur.‎

‎, Antwerpen pandora, , 1998 Hardback (relie), 305x240mm, 320 pages, 400 col.ill ,Dutch (NL) + French (FR) edition Version ISBN 9053251111.‎

‎Een einzelganger was hij, enerzijds gebed in de symbolistische traditie van de fin-de-siecle, aan de andere kant lonkend naar de avant-garde. Balancerend op de eeuwwisseling nam Leon Spilliaert (1881-1946) nooit een duidelijke plaats in in het esthetische referentiekader van zijn tijd.Met James Ensor deelde hij naast hun beider thuishaven Oostende, een gelijkgestemde drijfveer gebaseerd op spot en ironie, non-conformisme en de drang om een andere blik op de wereld te werpen. Spilliaert creeerde echter een eigen spirituele beeldtaal, hij experimenteerde met pastel en gouache, speelde met uitgezuiverde kleurvlakken en sierlijke lijnen. De zee onder een koele maan, eenzame figuren met een lege blik, stranden ontdaan van elke menselijke aanwezigheid, lege kamers en gestileerde silhouetten in tegenlicht: Spilliaert wist in abstraherende lijnen en kleuren steeds weer een sfeer van mysterie, magie en vervreemding op te wekken. Door de magisch-realistische toon van zijn werk kan Spilliaert beschouwd worden als een overgangsfiguur tussen symbolisme en surrealisme.Anne Adriaens-Pannier, conservator aan de Koninklijke Musea voor Schone Kunsten van Belgie in Brussel, werkt sinds 1995 op vraag van de familie Leon Spilliaert aan de beredeneerde catalogus van zijn oeuvre en brengt in dit prachtig geillustreerde boek hulde aan de kunstenaar. Zij beschrijft uitgebreid het autonome oeuvre en wijst op het illustratief werk als randverschijnsel. Spilliaert wordt geplaatst als schakel tussen grote kunstbewegingen, in het boeiende tijdperk waarin hij leefde en werkte. Een uniek boek over een heel bijzondere kunstenaar.‎

‎Ritual, Gender, and Narrative in Late Medieval Italy. Fina Buzzacarini and the Baptistery of Padua‎

‎, Brepols, 2020 Hardback, 384 pages, Size:225 x 280 mm, Illustrations:188 col., Language: English. ISBN 9782503579689.‎

‎Summary Ritual, Gender, and Narrative in Late Medieval Italy is the first English-language study of the baptistery of Padua and its extraordinarily rich fresco program, which opens with Genesis and closes with the Apocalypse. Remarkably, when the building was refashioned and frescoed by Giusto de' Menabuoi in the 1370s, it was a woman, Fina Buzzacarini, who funded the enterprise. In late medieval Italy, baptisteries were potent symbols of civic identity, solidarity, and pride, and towns spent lavishly on them - but no other baptistery was so radically reworked at the behest of a woman. Remarkably, too, though the building continued to function as Padua's baptismal church, the renovations transformed it into the mausoleum of Fina Buzzacarini and her family. This volume takes an interdisciplinary approach, using close visual analysis to argue that to a surprising degree, Fina exerted control over the images. The author argues too that ritual is equally important in understanding the frescoes: that in multiple ways that have rarely been considered, the images respond to and participate in the ritual enacted in this sacred space. The prayers intoned at the font, the actions of the officiant, the hymns chanted in procession and inside the baptistery, and even details of the rite all find visual echoes on the baptistery's walls. Ultimately, gender and ritual intersect in the multilayered frescoes of the Padua baptistery. TABLE OF CONTENTS Introduction Chapter 1 Fina Buzzacarini in Carrara Padua Local chroniclers say little about Fina, but recount one salient aspect of her life: after marrying Francesco I Carrara in 1345, she failed for over a decade to produce the requisite son and heir. After crises at court over succession, in 1359 she gave birth to a son. Though the couple's marriage was strained by her husband's blatant philandering, previously overlooked records show that Fina, a very wealthy woman, gradually emerged as a powerful presence at court. While some have minimized the degree of Fina's responsibility for the baptistery's program, I cite a number of documents from the later trecento that attest to a woman's ability to shape the subject matter of a work that she funded. I next discuss Fina's tomb monument, which emulates those of earlier Carrara lords but outshines them, and her votive portrait, which places her on the dexter side, as sole donor, and excludes her husband. Finally, I consider the extraordinary small portraits of Fina inserted into several of the narratives and interpret them as assertions of her authority, overt claims of agency, injected through the program. Chapter 2 Baptistery as Mausoleum: Ambitions and Motivations Why would Fina have sought the baptistery as a burial site, and why did Francesco and the local bishop, whose approval would have been required, agree? The sacred space of a baptistery had long been understood as a desirable funerary site. For Francesco, the project meant the embellishment of one of the most important buildings in the city, burnishing the stature of the regime; co-opting the preeminent symbol of civic harmony; and creating a prestigious-and presumably spiritually advantageous-setting for his own tomb. For the bishop, given the brief tenures of his predecessors who dared to cross Francesco, attempting to thwart the project was not a viable option. Fina likely had reasons of her own, which I consider further in Chapter 6, for choosing the baptistery as her burial place. Here I note that baptisteries were uncommonly welcoming to women. The rite offered them a rare opportunity to participate in the liturgy: women took their place at the font next to men. Finally, in electing her burial in the baptistery, Fina insured that her tomb would be seen, and her memory preserved, by future generations. Chapter 3 Narrative, Ritual, Exegesis: The Genesis Cycle This chapter opens with an account of the baptismal ritual as performed in late medieval Italy- the choreography of prayers, chants, readings, ritual actions, and attendant customs for both the solemn rite and the individual rite. The rest of chapter 3, and chapters 4 and 5, analyze the frescoes in the narrative cycles, arguing that they are as carefully choreographed as the rite, and work in concert with it. They respond as well to baptismal theology, depicting themes that offer pictorial glosses on the rite, echoing typological parallels drawn by medieval exegetes. The Genesis cycle in the drum of the dome includes narratives both familiar and more obscure (the Death of Adam; Lamech Slaying Cain; Jacob's Prayer after his Dream; Jacob's Rods; the Reunion of Jacob and Esau). The obscure episodes are distinctly baptismal, and even the familiar ones are rendered in unusual ways that heighten their baptismal resonance. Chapter 4: Narrative, Ritual, Exegesis: The New Testament Cycle The baptismal themes introduced in the drum continue below, in the New Testament cycle, where the frescoes are often strategically sited to respond to others, each accruing meaning from those nearby. Because of these pictorial and thematic correspondences, it is most productive to analyze the frescoes spatially, wall by wall, rather than purely chronologically. While most of the New Testament episodes depicted here are commonly seen in trecento visual narrative, almost all have been adapted in ways that make them singularly appropriate to the site. For instance, in the Massacre of the Innocents, the slain babies, normally shown nude in trecento painting, wear white tunics that evoke the white garments given to infants after baptism; the jugs in the Marriage of Cana are enlarged versions of the ewer used in the baptismal rite. Chapter 5: Narrative, Ritual, Exegesis: The Apocalypse Cycle In the baptistery's apse is a remarkably detailed depiction of the book of Revelation, a subject seldom seen in trecento painting and never on this scale. The choice was well considered: from late antiquity into late medieval Italy, exegetes found in the text repeated allusions to the sacrament. Again, uncommon narrative inclusions, such as the opening of the fifth seal, with the giving of white garments to the souls under the altar, or idiosyncratic features, like the setting of scenes in dramatic seascapes that attest to the salvific potency of water, highlight the relationship between the images and the rite enacted here. Chapter 6: Gender Matters: Maternity, Sexuality, and Visual Rhetoric If the Padua baptistery is a site for the celebration of the liturgy, it is also a site for the celebration, and commemoration, of its patron. Chapter 6 returns to the visual evidence to examine Fina's role in the baptistery more closely. The gender symmetry of the dome, where women and men appear in equal numbers in the largest circle of Paradise, is suggestive. So is the Genesis cycle's insertion of women into the narrative, at times almost rewriting sacred history to insist on their active participation at critical junctures. Moreover, many of the women featured in the dome and the drum are, unlike most women in the Christian pantheon, mothers - significantly, mothers of sons. Several (Sarah, Rebecca, Rachel, Elizabeth) conceived and delivered sons only after a long delay. Important, too, is the Apocalyptic Woman of Rev. 12, prominently depicted in the apse, who gave birth to a son born to rule. All of these women serve as Fina's exemplars - and as reminders of her success in delivering her own long-awaited son. Finally, the frescoes also feature malevolent, and specifically sexually transgressive, women: Herodias, the wife of Lot, and the Whore of Babylon; all are visually juxtaposed with virtuous mothers, and Herodias, who had an adulterous relationship with a ruler, with Fina herself.‎

‎JEAN FOUQUET. Prince des enlumineurs ‎

‎Genève Editions de Crémille 1989 in 4 (27,5x22) 1 volume reliure pleine suédine bleue ornée de l'éditeur, dos lisse titré en long, plats décorés d'un important encadrement doré, tête dorée, 123 pages [2], avec de nombreuses illustrations en couleurs. Collection: ''Les merveilles de l'enluminure''. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Couverture rigide ‎

‎L'APOGÉE DE LA FRESQUE ÉGYPTIENNE. La peinture égyptienne du nouvel empire (XVIIIe, XIXe, XXe dynastie) ‎

‎Genève Editions de Crémille 1989 in 4 (27,5x22) un volume reliure pleine suédine bleue ornée de l'éditeur, dos lisse titré en long, plats décorés d'un important encadrement doré, tête dorée, 127 pages. Nombreuses illustrations en couleurs. Collection: ''Les merveilles de l'enluminure''. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) ‎

‎Très bon Reliure ‎