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A Prayer Book owned by the Rothschilds, an Italian bronze casket by Antico, a lavishly illustrated Carnival chronicle from sixteenth-century Germany, an altarpiece by Pieter Brueghel the Younger - much of the artwork in this book, held by Australian collections, is essentially unknown beyond the continent. The authors of these essays showcase these extraordinary objects to their full potential,revealing a wide range of contemporary art and historical research. This collection of essays will surprise even specialists.

Art --- art [fine art] --- private collections --- public collections --- anno 1200-1499 --- anno 1500-1599 --- Europe --- Australia --- Art, Renaissance. --- Art, Medieval. --- Art, European. --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art, Modern --- European art --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists) --- Medieval art --- Art, Renaissance --- Renaissance art --- Private collections --- Art collections, Private --- Personal art collections --- Personal collections of art --- Private art collections --- Private collections of art --- Private art collections in art --- Private collections. --- Australia. --- Ahitereiria --- Aostralia --- Ástralía --- ʻAukekulelia --- Austraalia --- Austraalia Ühendus --- Australian Government --- Australie --- Australien --- Australiese Gemenebes --- Aŭstralii︠a︡ --- Australija --- Austrālijas Savienība --- Australijos Sandrauga --- Aŭstralio --- Australské společenství --- Ausztrál Államszövetség --- Ausztrália --- Avstralii︠a︡ --- Avstraliĭski sŭi︠u︡z --- Avstraliĭskiĭ Soi︠u︡z --- Avstraliĭskii︠a︡t sŭi︠u︡z --- Avstralija --- Awstralia --- Awstralja --- Awstralya --- Aystralia --- Commonwealth of Australia --- Cymanwlad Awstralia --- Državna zaednica Avstralija --- Government of Australia --- Ḳehiliyat Osṭralyah --- Koinopoliteia tēs Aystralias --- Komanwel Australia --- Komonveltot na Avstralija --- Komonwelt sa Awstralya --- Komunaĵo de Aŭstralio --- Komunejo de Aŭstralio --- Kūmunwālth al-Usturālī --- Mancomunidad de Australia --- Mancomunitat d'Austràlia --- Negara Persemakmuran Australia --- New Holland --- Nova Hollandia --- Osṭralyah --- Ōsutoraria --- Persemakmuran Australia --- Samveldið Ástralía --- Usṭralyah --- Usturāliyā --- Whakaminenga o Ahitereiria --- Κοινοπολιτεία της Αυστραλίας --- Αυστραλία --- Аўстралія --- Австралия --- Австралија --- Австралийски съюз --- Австралийският съюз --- Австралийский Союз --- Комонвелтот на Австралија --- Државна заедница Австралија --- אוסטרליה --- קהיליית אוסטרליה --- أستراليا --- كومنولث الأسترالي --- オーストラリア --- Art, Primitive --- Aŭstralii͡ --- Australské společenstv --- Avstralii͡ --- Avstraliĭski sŭi͡uz --- Avstraliĭskiĭ Soi͡uz --- Avstraliĭskii͡at sŭi͡uz --- Kūmunwālth al-Usturāl --- Usturāliy --- Kerry Stokes Collection Manuscript studies Early Printing and Books Renaissance Sculpture Spanish painting. --- art [discipline] --- private collections [object groupings]

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David en Goliath --- Castagno, del, Andrea

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"A general study of palace painting in Trecento and Quattrocento Italy. Argues for the pivotal role of early secular painting in early-modern art and theory"--Provided by publisher.

Mural painting and decoration, Renaissance --- Peinture et décoration murales de la Renaissance --- Peinture et décoration murales de la Renaissance --- Italy --- Mural painting and decoration, Renaissance - Italy

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Juvenile corrections --- Juvenile detention homes

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The Florentine painter Andrea del Castagno (c. 1419-1457) was a central figure of the Italian Renaissance, and his work appears in every major survey textbook on the period. Giorgio Vasari described him a master of drawing and a constant innovator. Vasari also however claimed that Andrea was a cold-blooded assassin, a man who left a self-portrait as Judas and who had murdered a fellow painter to obtain the secret of painting in oil. When Andrea del Castagno drew, he drew blood. The story is untrue; the few documents on the artist suggest an uneventful life and a very successful short career. Yet Vasari's tale is suggestive, and it serves as the starting point of this book, the first monograph study of Andrea del Castagno in more than three decades. Many of the painter's visual experiments were artistic dead-ends, seldom or never repeated, and they reveal the limits of a whole emerging visual system. This is painting that struggles to update old schemata for new antiquarian concerns and a new artistic order; natural, supernatural, and imaginary phenomena are all uneasily subject to the same norms of depiction and the same totalizing visibility. In a series of close analyses of key works, this book argues that Andrea del Castagno's art of creative disruption lays bare the problems and paradigms of early Western art. It is a limit case at the moment when the idea of art was itself coming into being.

Andrea del Castagno, --- Castagno, del, Andrea --- Castagno, Andrea del, --- Painting --- Painters --- Painting, Renaissance --- Peintres --- Peinture de la Renaissance --- Biography --- Biographies --- Castagno, Andrea del --- Criticism and interpretation --- Painting [Italian ] --- Italy --- Florence (Italy) --- 15th century --- Painting [Renaissance ]