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60 Art National Gallery Technical Bulletin Volume 34, Titian’s Painting Technique before 1540 Series Editor Ashok Roy Edited by Jill Dunkerton and Marika Spring Titian is acclaimed as the greatest of the Venetian masters. His technique has long fascinated painters and collectors, and his use of oil paints and the richly coloured pigments available to him in Venice influenced the subsequent history of European painting. The National Gallery, London, is home to an outstanding group of Titian’s paintings, and this special edition of its annual Technical Bulletin is dedicated to the study of the artist’s technique in the first part of his career. An introductory essay focuses on Titian’s painting technique, from its origins in the workshops of Venice and the Veneto, through close examination of nine works in the gallery’s collection, including the stunning Bacchus and Ariadne. The authors also discuss significant early works from other collections, such as Christ and the Adulteress and The Triumph of Love. New research and discoveries, published here for the first time, will be essential reading for Titian scholars and enthusiasts alike. Ashok Roy is director of collections, Jill Dunkerton is senior restorer and Marika Spring is principal scientific officer, all at the National Gallery, London. Published by National Gallery Company Distributed by Yale University Press November 128 pp. 298x210mm. 120 colour illus. PB ISBN 978-1-85709-552-4 £40.00* Translation rights: The National Gallery Company, London Poussin’s Sacrament of Ordination History, Faith, and the Sacred Landscape Jonathan W. Unglaub Painted by Nicolas Poussin, The Sacrament of Ordination is a major milestone of Franco- Italian classicism of the 17th century. The magisterial painting depicts Christ’s charge to Saint Peter and offers a profound meditation on nature, faith and the epochal unfolding of sacred history. This lovely book celebrates the work, recently acquired by the Kimbell Art Museum. Jonathan W. Unglaub, esteemed authority on the topic, shows how Poussin ingeniously employed the landscape setting and seemingly incidental figures to imbue the apparently conventional but deceptively meaningful painting with a broad sweep of sacred history. The author also considers the painting in the context of Poussin’s two series of the Seven Sacraments and makes the case that the artist redefined the ambitions of narrative painting and landscape, sowing the seeds of pictorial classicism. Jonathan W. Unglaub is chairman and associate professor of fine arts at Brandeis University. Kimbell Masterpiece Series Distributed for the Kimbell Art Museum October 100 pp. 235x191mm. 75 colour + 5 b/w illus. PB ISBN 978-0-300-19591-0 £9.99* Translation rights: Kimbell Art Museum, Fort Worth Francesco Vanni Art in Late Renaissance Siena John Marciari and Suzanne Boorsch With contributions by Jamie Gabbarelli and Alexa A. Greist Francesco Vanni was the most important artist in Siena at the turn of the 17th century. His works combine dazzling technical virtuosity and brilliant colouring with the naturalistic approach employed by his more famous contemporaries Annibale Carracci and Caravaggio. He painted altarpieces for every significant church in Siena, as well as for Saint Peter’s and other churches in Rome. Beautifully illustrated and featuring new research, Francesco Vanni: Art in Late Renaissance Siena is the definitive resource on the artist. Exhibition Yale University Art Gallery, 27/09/13 – 05/01/14 John Marciari is the curator of European art and head of provenance research at the San Diego Museum of Art. Suzanne Boorsch is the Robert L. Solley Curator of Prints, Drawings, and Photographs at the Yale University Art Gallery. Published in association with the Yale University Art Gallery August 256 pp. 279x216mm. 154 colour + 33 b/w illus. HB ISBN 978-0-300-13548-0 £40.00* Translation rights: Yale University Art Gallery Violence and Virtue Artemisia Gentileschi’s ‘Judith Slaying Holofernes’ Eve Straussman-Pflanzer Violence and Virtue examines a single, uniquely powerful painting: Judith Slaying Holofernes by Artemisia Gentileschi. A quintessential example of early Baroque painting, this work has, more than any other picture in her oeuvre, come to define Gentileschi as an early modern woman and a superb Baroque painter. Eve Straussman-Pflanzer explores the circumstances surrounding the painting’s creation and the meanings conveyed by the image itself. Exhibition The Art Institute of Chicago, 15/10/13 – 06/01/14 Eve Straussman-Pflanzer is the Patrick G. and Shirley W. Ryan Associate Curator of European Painting and Sculpture before 1750 at the Art Institute of Chicago. Distributed for the Art Institute of Chicago January 40 pp. 254x203mm. 20 colour illus. PB ISBN 978-0-300-18679-6 £8.99* Translation rights: Art Institute of Chicago Artemisia Gentileschi, Judith Slaying Holofernes, c. 1620. Oil on canvas. 199 × 162.5 cm. Uffizi Gallery, Florence
Painting in Latin America, 1550–1820 From Conquest to Independence Luisa Elena Alcala and Jonathan Brown Art 61 Painting in Latin America, 1550–1820: From Conquest to Independence surveys the diverse styles, subjects and iconography of painting in Latin America between the 16th and 19th centuries. While European art forms were widely disseminated, copied and adapted throughout Latin America, colonial painting is not a derivative extension of Europe. The ongoing debate over what to call it – mestizo, hybrid, creole, indo-hispanic, tequitqui – testifies to a fundamental yet unresolved question of identity. Comparing and contrasting the Viceroyalties of New Spain, with its centre in modern-day Mexico, and Peru, the authors explore the very different ways the two regions responded to the influence of the Europeans and their art. A wide range of art and artists are considered, some for the first time. Rich with new photography and primary research, this book delivers a wealth of new insight into the history of images and the history of art. Luisa Elena Alcala is a professor titular at the department of history and theory of art, Universidad Autónoma Madrid. Jonathan Brown is Carroll and Milton Petrie Professor of Fine Arts at New York University. Published in association with Ediciones El Viso October 480 pp. 298x235mm. 250 colour + 100 b/w illus. HB ISBN 978-0-300-19101-1 £45.00* Translation rights: Ediciones El Viso, Madrid Giovanni Busi, called Cariani, The Lute Player, c. 1515, Musée des Beaux-Arts de Strasbourg. Photo: M. Bertola Art and Music in Venice From the Renaissance to Baroque Edited by Hilliard T. Goldfarb Artistic and musical creativity thrived in the Venetian Republic between the early 16th century and the close of the 18th century. The city-state was known for its superb operas and splendid balls, and the acoustics of the architecture led to complex polyphony in musical composition. Accordingly, notable composers, including Antonio Vivaldi and Adrian Willaert, developed styles that were distinct from those of other Italian cultures. The Venetian music scene, in turn, influenced visual artists, inspiring paintings by artists such as Jacopo Bassano, Canaletto, Francesco Guardi, Pietro Longhi, Bernardo Strozzi, Giambattista and Domenico Tiepolo, Tintoretto and Titian. Together, art and music served larger aims, whether social, ceremonial or even political. Lavishly illustrated, Art and Music in Venice brings Venice’s golden age to life through stunning images of paintings, drawings, prints, manuscripts, textbooks, illuminated choir books, musical scores and instruments, and period costumes. New scholarship into these objects by a team of distinguished experts gives a fresh perspective on the cultural life and creative output of the era. Exhibition Montreal Museum of Fine Arts, 12/10/13 – 19/01/14; Portland Art Museum, 07/03/14 – 18/06/14 Hilliard T. Goldfarb is associate chief curator and curator of Old Masters at the Montreal Museum of Fine Arts. Distributed for Editions Hazan, Paris • Translation rights: Editions Hazan, Paris October 240 pp. 355x245mm. 200 colour illus. HB ISBN 978-0-300-19792-1 £40.00* Goya in the Norton Simon Museum Juliet Wilson-Bareau • Edited by Leah Lehmbeck During his lifetime, the industrialist and collector Norton Simon amassed a trove of European paintings, drawings and prints by Rembrandt, Picasso, Degas and others. Simon occasionally became fascinated with a particular artist’s oeuvre, and that passion inspired him to assemble monographic holdings of work by several masters, chief among them Francisco de Goya. This book examines the extraordinary Goya collection, which includes more than 1,400 prints, a drawing and three paintings, in the founder’s namesake museum. Simon’s enduring interest in serial images led him to acquire prints from various series and editions, and to compare and contrast seemingly identical ones. Spotlighting rare proofs and single prints, the catalogue also presents a complete set each of Los Caprichos, Disasters of War and other seminal series. Juliet Wilson-Bareau is a pre-eminent scholar of Goya’s work. Leah Lehmbeck is curator at the Norton Simon Museum, where she oversees the 19th- and 20th-century collections. Distributed for the Norton Simon Art Foundation January 264 pp. 280x255mm. 354 colour illus. HB ISBN 978-0-300-19626-9 £45.00* Translation rights: Norton Simon Museum, Pasadena
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