Elizabeth pilliod (25 risultati)

Hard cover. Condizione: Very good. Condizione sovraccoperta: Good. The jacket is scratched and worn with the front jacket cover having a closed tear on the front hinge. The cover is in great condition with no visible flaws apart from some light handling wear. Binding is tight and inside is clean and unmarked.…

Condizione: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Hardcover. Condizione: Fine. Condizione sovraccoperta: Fine. 269 pp., illustrations, index. "This is the eight volume in the catalogue series Master Drawings in Swedish Public Collections, initiated in 1972 by a volume devoted to German drawings. This was followed by three additional volumes of French drawings and three dealing with the work of Italian draughtsmen. The present volume, the fourth and last devoted to Italian drawings, contains works from Florence, Siena, Modena, and Bologna. ".…

Hardcover. Quarto. Hardcover. Bound in red cloth with yellow illustrated jacket with red/blue titles. 360 unnumbered pages : illustrations (some color) ; 29 cm. VG/VG-. Corners of jacket have some tiny chips and some light wear around the edges.

Hardcover. Condizione: Good. Condizione sovraccoperta: Fair. 1st Edition.

Condizione: As New. Condizione sovraccoperta: Very Good. Hbk 323pp, large square folio, profusely illustr throughout b+w and sepia-ton full page plates + photos and images inset into the text, dj has two closed tears at the spine and some light scuffing to the rear panel, otherwise near fine, unclipped and now in protective sleeve, internally an excellent, clean, tight and unmarked text, as new. …

Hardcover. Condizione: Very Good+. Condizione sovraccoperta: Very Good+. Text clean and tight; NOTE: additional postage may be necessary for international shipping; 8vo 8" - 9" tall; 300 pages.

Hardcover. Condizione: As New. The Metropolitan Museum of Art and Yale University Press; New York and New Haven, 2010. Hardcover. A Near Fine, brown cloth binding with gilt lettering on spine, binding firm, interior and extremities tidy, minimal handling marks/shelf wear, mild spine lean, a hint of sunning to page margins, in a Near Fine, trace handling/scuff marks to panels, mild edge/corner wear, bit of fading to spine, Dust wrapper. A nice, clean and unmarked copy. 4to[quarto or approx. 11.5 x 13.5 inches], 323pp., appendix, bibliography, indexed, photo credits, color and b&w illustrations. We pack securely and ship daily with delivery confirmation on every book. The picture on the listing page is of the actual book for sale. Additional Scan(s) are available for any item, please inquire.Please note: Oversized books/sets MAY require additional postage then what is quoted for 2.2lb book.…

Hardcover. Condizione: Fine. Condizione sovraccoperta: Near Fine. Quarto. Pp. x,289. A fine copy in black cloth boards. Dust jacket fine but for rubbing to head of spine.

Condizione: New.

Hardcover. Condizione: Brand New. bilingual edition. 320 pages. Italian language. 11.75x9.00x1.25 inches. In Stock.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: As New. Unread book in perfect condition.

Rilegato. Condizione: nuovo. Condizione sovraccoperta: nuovo. prima edizione. Pontormo at San Lorenzo The Making and Meaning of a Lost Renaissance Masterpiece Elizabeth Pilliod Pages: 384 p. Size:225 x 300 mm Illustrations:58 b/w, 90 col., 2 tables b/w. Language(s):English, Italian Publication Year:2022 Buy print version € 165,00 RETAIL PRICE ISBN: 978-1-909400-94-8 Hardback Available This book completely revises and corrects the standard interpretations and understanding of Jacopo da Pontomo's lost masterpiece, the frescoes in the choir of the church of San Lorenzo at Florence, Italy. BIO Elizabeth Pilliod, Rutgers University-Camden, is the author of Pontormo, Bronzino, Allori: A Genealogy of Florentine Art; Italian Drawings: Florence, Siena, Modena, Bologna; Drawings in Swedish Public Collections 8; numerous articles on 16th century Florentine art; and co-editor of Time and Place. Essays in the Geohistory of Art. She has been a Fellow at Villa I Tatti, the Harvard Center for Italian Renaissance Studies in Florence and a NEH stipend recipient. 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. Language : English text.…

Couverture rigide. Condizione: Neuf. Condizione sovraccoperta: Neuf. Edition originale. Italian Drawings.Florence,Siena,Modena,Bologna,by Per Bjurstrom/Catherine Loisel and Elizabeth Pilliod.Stockholm 2002 Nationalmuseum-Pages 245 circa Ills. profusely in b&w and color quarto cloth ( Drawings in swedish public collection 8 ) language : english text.…

Condizione: New. 2022. Hardcover. . . . . .

Condizione: New. 2022. Hardcover. . . . . . Books ship from the US and Ireland.

Condizione: gut. Pontormo at San Lorenzo. The Making and Meaning of a Lost Renaissance Masterpiece In englischer Sprache. pages.

Condizione: Buone. inglese Condizioni dell'esterno: Discrete con difetti, strappi Condizioni dell'interno: Buone.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Includes dust jacket.

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. 0 g.…

hardcover. Condizione: New. 1st.

XXXII, ca. 300 S., einige 100 Abb. Reg. 4° Ln.mS. *neuwertig*. Sprache: Englisch.

Rilegato. Condizione: nuovo. Pages: 384 p. Illustrations:58 b/w, 90 col., 2 tables b/w. Language(s):English, Italian. hARDBACK. bREPOLS, Publication Year:2022 -- 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.…