Sifting the available evidence, Carlo Ginzburg builds up a vivid portrait of Piero della Francesca's patrons and convincingly explains the contemporary intrigues resonant in his painting. This new edition, extensively illustrated, includes additional material by Ginzburg dealing with the work of Roberto Longhi, the dating of the Arezzo Cycle, and the rediscovery of della Francesca in the twentieth century.

Studie over de wiskundige kennis van de renaissanceschilder (ca. 1416-1492) en over het belang van de exacte wetenschap in de betreffende kunstperiode.

An innovative painter in the early generation of Renaissance artists, Piero dell Francesca was also an expert on religious topics and a mathematician who wanted to use perspective and geometry to make painting a “true science.” Although only sixteen of Piero’s works survive, few art historians doubt his importance in the Renaissance. A 1992 conference of international experts meeting at the National Gallery of Art deemed Piero “one of the most highly regarded painters of the early Renaissance, and one of the most respected artists of all time.” In recent years, the quest for Piero has continued among intrepid scholars, and Piero’s Light uncovers the life of this remarkable artistic revolutionary and enduring legacy of the Italian Renaissance.

Looking outward for confirmation of who they were and what defined them as "civilized," Europeans encountered the returning gaze of what we now call the East, in particular the attention of the powerful Ottoman Empire. Global Interests explores the historical interactions that arose from these encounters as it considers three less-examined art objects—portrait medals, tapestries, and equestrian art—from a fresh and stimulating perspective. As portable artifacts, these objects are particularly potent tools for exploring the cultural currents flowing between the Orient and Occident. Global Interests offers a timely reconsideration of the development of European imperialism, focusing on the Habsburg Empire of Charles V. Lisa Jardine and Jerry Brotton analyze the impact this history continues to have on contemporary perceptions of European culture and ethnic identity. They also investigate the ways in which European culture came to define itself culturally and aesthetically during the century-long span of 1450 to 1550. Ultimately, their study offers a radical and wide-ranging reassessment of Renaissance art.

"Lavin's study of the Pierro della Francesca "Flagellation" at Urbino, as befits this exquisite masterpiece, is a model of lucid and precise exposition as well as being an exciting exercise of scholarship. Informed with the intellectual rigour of Scholastic exegesis, it deserves to be placed with the classic readings of fifteenth and sixteenth century works by Erwin Panofsky and Edgar Wind."—Spectator "[Lavin] leaves the picture more wondrous than before, a simultaneous triumph of the theological and biographical, as well as pictorial, imagination."—Rackstraw Downes, New York Times Book Review

Endless Enigma: Eight Centuries of Fantastic Art explores the ways in which artists have sought to explain their world in terms of an alternate reality, drawn from imagination, the subconscious, poetry, nature, myth, and religion. Endless Enigma takes as its point of departure Alfred H. Barr Jr.’s legendary 1936 exhibition at The Museum of Modern Art, New York, Fantastic Art, Dada, Surrealism, which not only introduced these movements to the American public, but also placed them in a historical and cultural context by situating them with artists from earlier centuries. Presenting works from the twelfth century to the present day, this catalogue is organized into six themes—Monsters & Demons, Dreams & Temptation, Fragmented Body, Unconscious Gesture, Super Nature, and Sense of Place. Works included range from medieval gargoyles to twentieth-century works by Louise Bourgeois, Sigmar Polke, and Pablo Picasso as well as contemporary works by Michaël Borremans, Marcel Dzama, and Raymond Pettibon. Masterworks from the likes of Piero di Cosimo, Francisco de Goya, and Titian are considered alongside those by William Blake and Odilon Redon. Time folds and temporal barriers collapse when Damiano Cappelli meets Edvard Munch, and Salvator Rosa encounters Luc Tuymans and Lisa Yuskavage. Salvador Dalí, Sherrie Levine, Giuseppe Arcimboldo, Kerry James Marshall—eight centuries intersect and, as such, this wide-ranging catalogue examines affinities in intention and imagery between works executed across a broad span of time. Organized in collaboration with Nicholas Hall, a specialist in the field of Old Masters and nineteenth-century art, this fully illustrated catalogue is published on the occasion of the eponymous exhibition at David Zwirner, New York, in 2018. It includes new scholarship by Dawn Ades, Olivier Berggruen, and J. Patrice Marandel.

A portrait of the artist as a young man, an examination of the influence of his hometown

First published in 1997. For this second edition of Art Books: A Basic Bibliography of Monographs on Artists, the vast number of new books published since 1985 was surveyed and evaluated. This has resulted in the selection of 3,395 additional titles. These selections, reflective of the increase in the monographic literature on artists during the last ten years, are evidence of the activities of a larger number of art historians in more countries worldwide, of the increasingly diverse and ambitious exhibition programs of museums whose number has also increased dramatically, and also of a lively international art market and the attendant gallery activities. The selections of the first edition have been reviewed, errors have been corrected and important new editions and reprints have been noted. The second edition contains 278 names of artists not represented in the first edition.

In life after postmodernism our conception of photography is not the same as before. Photography After Postmodernism starts with this conception and explores what changes have affected photography, its relation to social life and our image-centred culture. Engaging with the visual environment and issues that have emerged in the postmodern world, David Bate introduces fresh approaches and analysis of photographs and their place within the aftermath of postmodernist thought. The book shows how photographs circulate in an 'image-world' beyond their art or media origins that deeply affects our sense of time and relation to memory. The role of archives, dreams, memories and time are deployed to develop and resituate arguments about photography made by Roland Barthes in Camera Lucida to further engage and understand our contemporary condition. By considering how ‘afterwardness’ is invoked in the developments of modern and contemporary photography, Bate demonstrates the complex ways in which photographic images resonate across public and private spaces, while carrying a slippage of meaning that is never quite fixed, yet always contingent and social. The approach shows how modernist photography was already invested in values that its discourse could not enunciate, which resonates with much contemporary photography today. Featuring a range of historical and contemporary images, the book offers detailed and innovative readings of specific photographs which open new avenues of thought for those studying and researching visual culture and photography.