The names of Masaccio (1401-28) and Masolino (1383-1440) are inseparable, and their collaboration is an essential starting point for the study of either artist. Masaccio's Holy Trinity and the recently cleaned collaborative frescos in the Brancacci Chapel in Florence are key works in the development of Western art. Paul Joannides' catalogue raisonné forms a uniquely authoritative and perfectly up-to-date study of the total oeuvre of both artists. Composed with lucidity and richly illustrated, it makes accessible to all lovers of art - from the connoisseur to the casual reader - some of the greatest paintings of the early Renaissance, and most momentous works of Western painting.

Ranked by many scholars as the greatest master of early Italian Renaissance painting, Masaccio (1401-1428) was the first artist to use effects of light to create three-dimensional images on a two-dimensional plane. This achievement, revolutionary in Masaccio's day, is one of the painter's significant contributions to art history. This book explores Masaccio's accomplishment as epitomized by the multipaneled painting of which theSaint Andrewpanel is thought to have once formed a part: the Pisa Altarpiece, one of the truly great polyptychs in the history of Italian Renaissance art, produced in 1426 for a chapel in the church of Santa Maria del Carmine, Pisa. The text discusses Masaccio's short life and illustrious career; the commission for the altarpiece; its patron and program; the painting's original location; and the role that the church friars played in the actual commission. Finally, after examining the polyptych's individual panels, the book traces their subsequent history and recounts how art historians came to identify them.

Elkins argues that writing is what art historians produce, and, whether such writing is a transparent vehicle for the transmission of facts or an embattled forum for the rehearsal of institutional relations and constructions of history, it is an expressive medium, with the capacity for emotion and reflection. Therefore, it needs to be taken seriously for its own sake: it is the testament of art history and of individual historians, and it is only weakened and slighted by versions of history that imagine it either as uncontrolled dissemination or as objective discovery and reporting.

The book is the result of a study begun in 1995 of the panel paintings of Masolino and Masaccio. A team from the Opificio delle Pietre Dure, Italy, joined by colleagues from the National Gallery in London and the Philadelphia Museum of Art visited museums in Europe and the United States that own paintings by these two Renaissance masters. This research, supported by the Samuel H. Kress Foundation, investigated the painting technique of the artists in ways that even a few years before would not have been possible. The study has led to a greater understanding of the nature of the collaboration of the two artists and the chronology of their work. Fine examples of Masaccio underdrawing have been revealed, as well as Masolino's innovative use of oil mediums. The Panel Paintings of Masolino and Masaccio includes an introduction by Carl Brandon Strelke summarising the results and reviewing the usefulness of laboratory research for art history. A major essay by Roberto Bellucci and Cecilia Frosinini int

The fifteenth century was a critical juncture for the College of Cardinals. They were accused of prolonging the exile in Avignon and causing the schism. At the councils at the beginning of the period their very existence was questioned. They rebuilt their relationship with the popes by playing a fundamental part in reclaiming Rome when the papacy returned to its city in 1420. Because their careers were usually much longer than that of an individual pope, the cardinals combined to form a much more effective force for restoring Rome. In this book, shifting focus from the popes to the cardinals sheds new light on a relatively unknown period for Renaissance art history and the history of Rome. Dr. Carol M. Richardson has been awarded the Philip Leverhulme Prize (2008) in the field of History of Arts.

Christian mission in previous centuries often drew on images of imperial expansion and war. While few today would describe the gospel task in such imperialistic terms, have we developed appropriate alternate images to associate with the good news of Jesus Christ? In "Picturing Christian Witness" missiologist Stanley Skreslet searches for new, more holistic images of mission from Scripture. Undertaking a novel exegetical study of mission in the New Testament, he highlights five actions that depict the witness of Jesus' first followers: announcing good news, sharing Christ with friends, interpreting the gospel, shepherding, and building/planting. After carefully examining key biblical passages, Skreslet draws out the implications of these five images for the theology of mission and lets each image take shape visually through an array of Western and non-Western art. "Picturing Christian Witness" will provoke readers to imagine what mission will look like when actively embodied by contemporary disciples of Jesus.

A magnificently illustrated series of monographs that explore the lives and works of some of the most famous, influential, and talented artists throughout history. Each volume features a number of insightful essays by leading experts, a comprehensive chronology - set in an historical and artistic context, and a bibliography for ideas on further reading.