Anglo-Saxon Manuscripts, 900-1066 (A Survey of manuscripts illuminated in the British Isles)

Temple, Elżbieta

Harvey Miller

Corpus of Spanish Drawings: Madrid, 1600-50 v. 2

Diego Angulo

A. E. Pérez Sánchez

Review 
"The book is a magnum opus...which contains all or almost all the ascertainable information and which will with its wealth of technical notes, bibliography and comparative illustrations...be the essential book for the foreseeable future."--Apollo 
 About the Author 
Andrew Martindale is at University of East Anglia.

The Triumphs of Caesar by Andrea Mantegna in the collection of Her Majesty the Queen at Hampton Court

MARTINDALE, Andrew

Volume I presents a new interpretation of the origins, dissemination and reception of the Guide - one of the greatest merits of which is what it tells us about life, customs and pilgrimage in the early to mid 12th century. The history of the diffusion of the twelve extant manuscripts is examined, which encompasses evidence from a dozen lost copies. The detailed catalogue of manuscripts, which makes up the main body of the volume, provides a significant resource for palaeography and cultural history. Volume II offers the first critical edition of the Latin text of the Guide, with parallel English translation, extensive annotation and cross-references to the Gazetteer (still available).

The Pilgrim's Guide to Santiago de Compostela: A Critical Edition (2 Volumes) (English and Latin Edition)

Arts & Photography

History & Criticism

This volume is the second in the series devoted to portraits and in this volume is confined to portraits painted in Antwerp, cataloguing those in which the sitters are identified. Dr. Vlieghe examines the specific stylistic evolution of Rubens as a portrait painter, and shows how clearly the portraits reflect the general development of the painter's style. Of particular interest is the way in which Rubens merged the monumental sense of form and High-Renaissance devices that he had learnt in Italy with the traditions of style and iconography current in the Southern Netherlands. Especial emphasis is laid on the emblematic character of Rubens's portraits, especially those of his own family.

Portraits of Identified Sitters Painted in Antwerp (HMCRLB 19.2) (Corpus Rubenianum Ludwig Burchard) (Corpus Rubenianum Ludwig Burchard PT. XIX, 2)

Vlieghe, Professor Hans

Rubens was well placed to take advantage of the increasing demand for scenes of Christ's Passion in the Southern Netherlands at the beginning of the 17th Century. He had developed a reputation for his religious paintings in Italy, and his return to Antwerp coincided with the efforts of the Catholic Church to restore and replace altarpieces damaged by the Calvinists. The influence of classical sculpture and of Titian, Michelangelo and Caravaggio is evident in the monumental quality of his compositions, which at the same time evoke his deeply held religious beliefs and his determination to give his viewers the sense of witnessing a moment in history.

The Passion of Christ. (Corpus Rubenianum Ludwig Burchard)

Judson, J. Richard

For Ruben's age, as for the ancient Romans, history was valued for the lessons it taught. Rubens was deeply interested in history, particularly the works of the ancient writers like Ovid, Plutarch and Juvenal, which were full of exemplary figures. Yet unlike many Renaissance artists who merely sought texts they could illustrate, Rubens was familiar enough with classical writings to interpret them with originally and wit - always with an eye for the visually striking aspect. He was thus uniquely qualified to respond to the requirements of particular commissions with exemplary themes like The Continence of Scipio, The Justice of Cambyses, The Devotion of Artemisia and The Courage of Cloelia. Elizabeth McGrath recreates the context in which Rubens worked and casts new light on rarely discussed and misidentified subjects. Also included is a detailed analysis of the tapestry cartoons on the life of Romulus, now in the National Museum of Wales, relating the series to all relevant studies, paintings and tapestries.

Subjects from History (HMCRLB 13.1) 2 vols (Corpus Rubenianum Ludwig Burchard) (Rubens' Subjects from History)

McGrath, Elizabeth

Rubens' nine paintings on the ceiling of the Banqueting Hall, in Whitehall, London, provided the main decoration of this magnificent room, which was the focal point of Stuart Court ceremonial. Commissioned by King James I and his son, the future Charles I, following the destruction of the early Jacobean Banqueting Hall, their role in enhancing court spectacle came to an end with the fire that destroyed the rest of Whitehall Palace in 1598. The delay in executing the commission was due to matters of state, in which Rubens was involved as a diplomat. His stay in London in this capacity in 1629/30 made possible the realization of this commission. Rubens would have been aware that the Stuarts owed their position to the regal union of the crowns of England and Scotland, that his royal patron had now embraced his father's pacific policy and that he was the more determined to impose an absolute rule, which his father had eloquently expounded in speeches and treatises. These three themes form the central core of the cycle which glorified the reign of the late king, James I. The cycle presented Rubens with a great challenge, not only because of the novelty of the subject matter, but also because of the formal problems presented by the huge scale of the work. This volume of the Corpus Rubenianum Ludwig Burchard provides the fullest review to date of the history of the commission, it also unravels the complex preparatory work and places the subject matter in the context of early Stuart political and ethical aspirations.

The Ceiling Decoration of the Banqueting Hall (Corpus Rubenianum Ludwig Burchard)

Martin, Gregory

This volume catalogues the paintings and drawings that Ludwig Burchard (1886-1960) gathered under the heading 'Genre Scenes' when planning his catalogue raisonne of Rubens's oeuvre. Not that Rubens has ever been thought of as a genre painter in the conventional sense of the term. Besides, even the individual works assembled here do not accord with the customary definitions of genre painting, a category of subject-matter that was introduced relatively late in the history of art. The famous Garden of Love in the Prado, for example, with its fluttering amoretti, is more accurately described as an allegory. Even the picture in the Louvre frequently referred to as the Kermesse clearly does not reproduce an actual kermis or any other such event as witnessed by the artist, but is a fictional construct in which precisely observed details are designed to convey a message that is more symbolic than realistic in content. Yet no history of genre painting can fail to include Rubens. His pictures occupy a firm place in the relevant section of any imaginary museum of European art, whatever strictures the guides to that museum may apply. The works discussed in this volume belong to the most famous creations of the painter. They are also among the most personal of his inventions. Most of them were never sold by Rubens, but remained in his possession, a circumstance that suggests they should be viewed as a particular artistic legacy. That is not to say that they did not offer contemporaries a wide range of possible interpretations unconnected with the artist's own life. For a historically appropriate interpretation it is essential to examine closely not only the artistic process of creation, but also the former contexts of the pictures. Establishing the most complete provenance possible not only for the primary version of a composition but for all the various copies plays an important part in this process.

Genre Scenes (Corpus Rubenianum Ludwig Burchard)

Nils Büttner

The central theme of Rubens's paintings is the human figure, often represented nude or partially clothed and involved in dramatic action. As a history painter, Rubens's acclaimed skill in rendering the human body whether male or female, lean or fleshy, mature in years or young, animated or lifeless, vigorous or diseased, heroic or cowering, sensuous or decrepit, idealised or blemished and imperfect enabled him to vie with the greatest artists ever known, while creating increasing demand for his work among Europe's intellectual, cultural, religious and political lite. His mastery in depicting human figures and their dynamic movements suggests that he followed the example of Leonardo da Vinci (1452-1519), Michelangelo Buonarroti (1475-1564) and other Italian artists he admired, who made extensive studies of human anatomy. As pointed out by two recent perceptive scholars, however, the robust, muscular male nudes in action who appear in so many of Rubens's narrative paintings are often anatomically inaccurate. Moreover, and as will become clear in this volume, Rubens's approach to anatomical study was not closely similar to that of any of his forbears. In many respects his ways of working are comparable to those of Michelangelo, who used the knowledge he acquired through dissection not to pursue verisimilitude but to invent the anatomy of his figures according to his own idea of physical beauty, strength and expression. Yet unlike Italian Renaissance artists such as Leonardo, Michelangelo, and Alessandro Allori (1535-1607), Rubens did not perform or witness dissections and seems to have rarely studied from the live nude model. What, then, was the nature and extent of Rubens's study of human anatomy? The present volume will offer an answer to that question, while also establishing when and where most of his anatomical works were made and reassessing the issue of their intended purpose.

Anatomical Studies: Study Heads and Anatomical Studies (Corpus Rubenianum Ludwig Burchard, 20.1)

Michael W. Kwakkelstein

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Books by Harvey Miller