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"Pontormo’s frescoes in San Lorenzo were the most important cycle of the sixteenth century after Michelangelo’s Sistine frescoes. They had an enormous impact on artists until their destruction in the eighteenth century, and their interpretation has also had a significant bearing not only on the reception of this artist, but also of late Renaissance art in Florence.Based on archival and historical research, this book determines a new date for the inception of the fresco cycle and reconstructs the day-by-day activity in the church that had an impact on Pontormo’s project. It reveals Pontormo’s painstaking working method. The new reconstruction corrects the visual order of the frescoed scenes, and conclusively demonstrates the orthodoxy of the choir’s iconography. It sets them into the artistic and architectural context of the church of San Lorenzo, relating them to works of art by Fra Bartolomeo and Michelangelo, as well as to complex liturgical and religious functions. This study establishes the intentions of the Medici and the canons of the church in having Pontormo paint the specific space in the church where he painted, and the specific subjects that were included. Finally, it reveals the unsuspected impact Pontormo’s paintings had on other works of art."

Painting --- iconography --- frescoes [paintings] --- San Lorenzo basiliek [Florence] --- Pontormo, Jacopo --- Florence --- Italian Peninsula (c. 1501-1800) --- Renaissance painting --- receptiegeschiedenis

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Du fait de la disparition presque totale de la peinture grecque monumentale, les fresques des tombes et chambres étrusques représentent l'ensemble le plus important des peintures antiques préromaines. Ces tombes peintes étrusques qui s'échelonnent entre la première moitié du VIIIe siècle et la première moitié du IIe siècle avant J.-C. sont surtout localisées dans la nécropole de Monterozzi, qui appartient à la célèbre métropole maritime de Tarquinia, mais on en trouve aussi à Véies, Cerveteri, Vulci, Orvieto et Chiusi. Au nombre des plus récentes découvertes, il faut noter : la tombe des Démons bleus à Tarquinia, qui s'orne de démons étrusques d'aspect effrayant et d'un Charon grec dans sa barque ; une tombe de l'Orientalisant récent avec décoration d'animaux fantastiques de facture toscane et, également, un édifice souterrain - non funéraire - dans la zone urbaine de Cerveteri avec représentation de palmiers. Ces peintures aux couleurs vives reflètent les changements stylistiques, iconographiques et " idéologiques " qui se sont produits au cours de cinq siècles. Elles nous donnent de précieuses informations sur la vie quotidienne, la société, la religion et le culte funéraire de l'aristocratie étrusque. Ce livre, le premier qui offre un panorama aussi vaste des fresques étrusques, tente de reconstituer l'histoire de la peinture funéraire étrusque, de répertorier les diverses possibilités d'interprétation et de situer ce phénomène dans l'histoire générale de la peinture antique, en particulier en établissant des comparaisons avec l'Italie méridionale, la Macédoine et l'Asie Mineure. Cet ouvrage s'adresse aussi bien aux amateurs qu'aux chercheurs tant les œuvres reproduites restent surprenantes, intéressantes, et tant elles éblouissent par leur beauté intemporelle. (Deuxième de couverture.)

frescoes [paintings] --- Painting --- Etruscan [culture or style] --- fresco's --- Etrusken --- Antiquity --- Italy --- Antiquité romaine --- Art étrusque --- Fresque --- Mural painting and decoration, Etruscan --- Tombs --- Etruscans --- Decoration --- Antiquities. --- Peinture et decoration murales etrusques

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7 --- 7 Kunst. Ruimtelijke ordening. Architectuur. Sport en spel --- Kunst. Ruimtelijke ordening. Architectuur. Sport en spel --- Art --- furniture --- clocks --- art history --- antiques [object genre] --- earthenware --- frescoes [paintings] --- rugs [textiles] --- precious metal --- 760 --- antiek --- kunsthandel --- kunstnijverheid --- arts appliqués

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frescoes [paintings] --- Nederlandse kunstenaars in Italië --- Bril, Paul --- Bril, Matthijs --- Mural painting and decoration --- Bril, Matthijs, --- Bril, Paul, --- Criticism and interpretation --- Criticism and interpretation. --- Mural painting and decoration - Vatican City --- Mural painting and decoration - Italy - Rome --- Bril, Matthijs, - ca. 1550-1583 - Catalogs --- Bril, Paul, - 1554-1626 - Criticism and interpretation --- Peinture et décoration murales. --- Brill, Mathaeus, --- Critique et interprétation --- Bril, Matthijs, - ca. 1550-1583 --- Bril, Paul, - 1554-1626

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One of the most magnificent and enduring themes in Chinese painting history can be found depicted in Daoist temples from the local village up to the very capital, viz., the paintings of the Heavenly Court (chaoyuan tu). Surprisingly, its images have remained largely unstudied in Western scholarship. Drawing on a comparative study of four complete sets of wall paintings dating back to the thirteenth and fourteenth centuries (the oldest examples), and their related images, painting criticism, stele inscriptions, and Daoist ritual manuals, the author offers the first comprehensive study of the historical development, iconography, ritual context, methods of mural design, and the personalisations made by patrons of the four Heavenly Court paintings.

S17/0610 --- S13A/0401 --- China: Art and archaeology--Painting: frescoes and wall-paintings --- China: Religion--Popular religion: Taoism --- Mural painting and decoration, Chinese. --- Ritual in art. --- Taoist gods in art. --- Taoist mural painting and decoration --- Taoist mural painting and decoration -- China. --- Mural painting and decoration, Chinese --- Taoist gods in art --- Ritual in art --- Visual Arts --- Art, Architecture & Applied Arts --- Painting --- Mural painting and decoration, Taoist --- Mural painting and decoration --- Chinese mural painting and decoration