by Miklos Boskovits
Philip Wilson Publishers, 1990, 226 pages, Hardcover, ISBN: 0856673811
If one painting sums up the exceptional quality of the fourteenth- and early fifteenth-century Italian paintings in the Thyssen-Bornemisza Collection, it is the panel by Duccio from the back predella of his Maestà for Siena cathedral. Other major Trecento and Quattrocento artists included in this volume are Fra Angelico, Bernardo Daddi, Taddeo Gaddi, Giovanni di Paolo, Lorenzo Monaco, Lorenzo Veneziano, Paolo Uccello and Vitale da Bologna. Less well-known artists of the Florentine, Sienese, Venetian and other schools are also represented, by works of particular quality and in a good state of preservation.
The text will enrich the reader's appreciation not only of the collection, but also of the Trecento and Quattrocento in general. The author draws upon a very wide knowledge of the period and a broad bibliography. A number of new or revised interpretations are proposed in the light of recent research. Color photographs and details of the Thyssen paintings are complemented by comparative black and white illustrations of other works, as well as line drawings and photomontages of dismembered polyptychs. The entries are supplemented by concise biographies of each artist.
by Miklos Boskovits
Philip Wilson Publishers, 1990, 226 pages, Hardcover, ISBN: 0856673811
If one painting sums up the exceptional quality of the fourteenth- and early fifteenth-century Italian paintings in the Thyssen-Bornemisza Collection, it is the panel by Duccio from the back predella of his Maestà for Siena cathedral. Other major Trecento and Quattrocento artists included in this volume are Fra Angelico, Bernardo Daddi, Taddeo Gaddi, Giovanni di Paolo, Lorenzo Monaco, Lorenzo Veneziano, Paolo Uccello and Vitale da Bologna. Less well-known artists of the Florentine, Sienese, Venetian and other schools are also represented, by works of particular quality and in a good state of preservation.
The text will enrich the reader's appreciation not only of the collection, but also of the Trecento and Quattrocento in general. The author draws upon a very wide knowledge of the period and a broad bibliography. A number of new or revised interpretations are proposed in the light of recent research. Color photographs and details of the Thyssen paintings are complemented by comparative black and white illustrations of other works, as well as line drawings and photomontages of dismembered polyptychs. The entries are supplemented by concise biographies of each artist.
