London’s National Gallery holdings of Italian paintings are both deep and wide-ranging. This new, richly illustrated catalogue of the Italian paintings from 1400–1460 includes entries on masterpieces by the greatest artists of the period, such as Masaccio, Fra Angelico, Pisanello, and Uccello. Since the publication in 1961 of Martin Davies’ catalogue of the earlier Italian Schools, much new evidence has become available through both scientific and archival investigations. Discoveries have been made and new theories advanced, not only about the identity of the artists but about the nature of their subject-matter and the original settings of their work. Among the completely new findings published here are the discovery of a concealed signature on an Annunciation by the Florentine painter Zanobi Strozzi and the identification of the missing predella panel from the Trinity altarpiece, begun by Pesellino, and completed by Filippo Lippi.Each picture has been reexamined by conservators and new information gleaned about its technique and condition. All the paintings are reproduced full-page, in color, together with many details, comparative illustrations, and reconstructions.

Italian Paintings, 1400-1460 (National Gallery Catalogues)

Arts & Photography

Dillian Gordon

History & Criticism

National Gallery London

Italian Painting Before 1400

Jill Dunkerton

David Bomford

Ashok Roy

Jo Kirby

National Gallery Company Ltd.

<p>The Wilton Diptych is one of the most beautiful, yet most enigmatic, paintings ever made. The intricacy of detail, the refinement and sublety of its varied techniques and decorative effects, the lushness of its colours and the exquisite tooling of the gold, all in a remarkable state of preservation, are unmatched in any contemporary English or European panel painting. Superficially the imagery is straightforward. It shows Richard II (King of England 1377-99) being presented to the Virgin and Child by two royal English saints, Edward the Confessor and Edmund, and Richard's patron saint, John the Baptist. On the exterior are the king's personal emblem of the white hart and his coat of arms. Thereafter the diptych remains an enigma: no one knows precisely when, why, or by whom it was painted. The author explores new evidence which helps to clarify the diptych's meaning. As a result of recent investigations by the Gallery's Scientific and Conservation Departments, valuable technical information is presented about the materials used in its painting, which has a bearing on both its origin and serves to emphasize the extraordinary craftsmanship of the diptych.</p>

The Wilton Diptych (Making & meaning)

National Gallery Co Ltd

<p>The National Gallery holdings of Italian paintings are both deep and wide-ranging. This new, richly illustrated catalogue of the Italian paintings from 1400-1460 includes entries on masterpieces by the greatest artists of the period such as Masaccio, Fra Angelico, Pisanello and Uccello. Since the publication in 1961 of Martin Davies' catalogue of the earlier Italian Schools, much new evidence has become available through both scientific and archival investigations. Discoveries have been made and new theories advanced, not only about the identity of the artists but about the nature of their subject-matter and the original settings of their work. Among the completely new research published here are the discovery of a concealed signature on an Annunciation by the Florentine painter Zanobi Strozzi and the identification of the missing predella panel from the Trinity altarpiece, begun by Pesellino and completed by Filippo Lippi. Every picture has been re-examined by conservators, and new information gleaned about its technique and condition. All the paintings are reproduced full-page, in colour, together with many details, comparative illustrations and reconstructions.</p>

The Fifteenth Century Italian Paintings : National Gallery Catalogues

National Gallery Company

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