Notes
- Examples which spring to mind are: Modern Art; Practices and Debates (four volumes, various titles and authors, 1993) published by Yale University Press in association with the Open University; George Braziller's Great Fresco Cycles of the Renaissance (eight volumes, various titles and authors, 1993, 1994, 1995); and Harry Abram's Perspectives series on Italian Renaissance cities.
- The volumes in print at time of writing deal with Masaccio's Trinity in Santa Maria Novella, Raphael's School of Athens, Titian's Venus of Urbino, Rembrandt's Bathsheba Reading King David's Letter and Manet's Le Déjeuner sur l'Herbe. Still to come are volumes devoted to Caravaggio's St Paul, David's Death of Marat and Picasso's Les Demoiselles d'Avignon.
- They are approximately 22.5 x 15 cm, and between 160 and 200 pages.
- Anne Jensen Adams, ‘Introduction’, Rembrandt's Bathsheba Reading King David's Letter, Cambridge: Cambridge University Press, 1998, pp.11–12.
- See, for example, her discussion of Savoldo's Magdalene in Mary Pardo, ‘The subject of Savoldo's Magdalene’, Art Bulletin, vol. LXXI, no.1, March 1989, pp.67–91.
- ‘When, in his series of pictures of Venus with a musician, Titian replaced the male figure at the keyboard with one playing a lute (who thus no longer looks over his shoulder at Venus), one meaning of the work is that to the sense of sight is now added that of hearing. If in the former pictures, the male was interrupted in the act of making music (turning his eyes from the keyboard) by the sight of beauty embodied in naked Venus, playing the lute he is transformed into one who shares his love of music with the Muse herself’ (Erwin Panofsky, Problems in Titian, Mostly Iconographic, New York: New York University Press, 1969, pp.123–24).
- Sperone Speroni, Pietro Bembo and Mario Equicola: see Amedo Quondam, ‘Sull'orlo della bella fontata; Tipologie del discorso erotico nel primo Cinquecento, in Tiziano Amor Sacro e Amor Profano’, Electa, 1995, pp.65–81.
- The paper-back versions have a coloured detail on the cover, but this is inadequate.
- Marcia Hall (ed.), Raphael's School of Athens, Cambridge: Cambridge University Press, 1997, pp.26–27. Later she adds, ‘In our day the academic tradition of art education has all but vanished’ (p.42).
- Hall adds that Raphael's style was ‘certainly not created according to predetermined rules’.
- Marcia Pointon, ‘The fascination with this rendezvous does not diminish’, in Paul Hayes Tucker (ed.), Manet's Déjeuner sur l'Herbe, Cambridge: Cambridge University Press, 1998, pp.157–58.
- See, for example, p.5, where he writes ‘…these observers unfortunately prove to be only partially reliable as guides. The meanings they found in the Déjeuner, the problems they felt compelled to enumerate, even the pleasures they derived from the picture or their reading about it depended as much on their point of view—or on their editors—as on the painting itself. Dispassionate assessments were rare, if they existed at all’. He adds, ‘The comments of all these contemporaries therefore, while important grist for the mills of later historians, nonetheless cannot be taken at face value’, and ‘the same must be said of statements made by or attributed to Manet himself’.
- ibid, p.111.
Notes
- Anne Watson (ed.), Beyond Architecture: Marion Mahony and Walter Burley Griffin, America Australia and India, Sydney: Powerhouse Publishing, 1998.
- James Weirick, ‘Spirituality and symbolism in the work of the Griffins’, in Watson, Beyond Architecture…, pp.58–63.
- Anna Rubbo, Christopher Vernon, Jeffrey Turnbull and Peter Navaretti are contributors to both The Griffins in Australia and India… and Beyond Architecture…