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Italian Frescoes: The Age of Giotto, 1280-1400 | 
| Author: Joachim Poeschke
Creators: Antonio Quattrone, Ghigo Roli
Publisher: Abbeville Press
Category: Book
List Price: $135.00
Buy New: $86.55
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Seller: pbshopus
Rating:  4 reviews
Sales Rank: 493278
Media: Hardcover
Pages: 472
Number Of Items: 1
Shipping Weight (lbs): 7.7
Dimensions (in): 13.1 x 10.9 x 1.6
ISBN: 0789208636
Dewey Decimal Number: 751.73094509023
EAN: 9780789208637
ASIN: 0789208636
Publication Date: October 1, 2005
Availability: Usually ships in 1-2 business days
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Product Description
The fourth, but the earliest volume chronologically, of the only comprehensive survey in modern times of the surviving Italian frescoes from the end of the Middle Ages to the Renaissance and Mannerism, this groundbreaking oeuvre is an achievement in scholarship and publishing of the same magnitude as Abbeville's "Art of Florence" and "Art and Spirit of Paris". Following the success of the previous volumes in this extraordinary series: "Italian Frescoes: The Early Renaissance", "Italian Frescoes: The Flowering of the Renaissance", and "Italian Frescoes: The High Renaissance and Mannerism" - "Italian Frescoes: The Age of Giotto", 1280 - 1400 presents twenty-two outstanding fresco cycles. Created during the late thirteenth and early fourteenth centuries, these cycles set new standards for painting and an innovative vision of man, paving the way for the monumental achievements of the Renaissance. It was at this time that fresco painting was not only commissioned for churches and chapels, but also for such secular places as town halls and royal residences with humanist in addition to religious themes. The fresco cycles featured here include brilliant works by Giotto in Assisi, Padua, and Florence; dramatic paintings by Cimabue, thought to be Giotto's teacher; Pietro Cavillini in Rome; and the Sienese artists Simone Martini and Pietro and Ambrogio Lorenzetti - all of these works still visible on walls and ceilings of palaces and churches spanning Italy from the Veneto to Rome. The authors describe and illustrate such celebrated sites as the Church of Saint Francis in Assisi, the Chapel of the Scrovegni in Padua, the Public Palace in Siena, and the papal chapel, the Sancta Sanctorum, in Rome. Each of the twenty-two chapters is concise and authoritative, offering a descriptive and interpretive essay on all aspects of fresco painting, covering the artists and their patrons in the context of their cultural and political history. Each essay concludes with a diagram of the site, followed by a series of full- and double-page color plates showing the entire cycle, many reproduced from new photographs of recently restored frescoes. No publisher until now has attempted to gather together and document all the important fresco cycles of Italian art from the late thirteenth to the seventeenth centuries. While this volume is the predecessor to the previous books, "Italian Frescoes: The Age of Giotto", 1280 - 1400 easily stands alone as a masterpiece of art and scholarship which will be welcomed by art historians and art lovers alike.
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| Customer Reviews:
 Excellent book December 1, 2007
Hortopan Mircea Alexandru
The book is phantastic. If someone love Italy and the masterpieces of the early Renaissance, then must have this book. I visited many times the great monuments in Florence and Assisi but I have not been able do take some good photos of the frescoes cycles, in order to admire at home or to study them. So, this is the book I needed.
P.S. Not only the photos are great, but also the essays.
 Hard read July 3, 2007
H. H. Verveer (Amsterdam, Netherlands)
13 out of 17 found this review helpful
I wonder how many people who buy a book like this, actually read it. It took me six months before I had the courage. And now that I have - and have three more volumes to go - I admit that I would have preferred a somewhat more pedestrian approch, perhaps - I should say - a somewhat more Anglosaxon (or American) approach. Because this book is definitely written in the German tradition, which goes especially for the several general introductions to the volume.
Short as they are, they are hard to read and a lot is taken for granted. I am an art lover, am well at home in the nineteenth century, but am less acquainted with the art of the middle ages and early renaissance, whereas on the other hand I know the general history of the period reasonably well. And although I have already visited many of the churches and chapels, frescoes and mosaics, described in the book, I still find parts of the introductory texts hard to follow. Commenting on fhe frescoes in the Assisi upper church, one of the highlights in the volume, Poeschke writes: "As for their innovate artistic qualities in general, these are already seen in the unified overall conception into the built architecture, in part by illusionistic means, and extend to the well balanced pictorial strucure, the clearly defined volumes and body language of the figures, a heightened presence of everything being represented, and an extension and refinement of the color spectrum. More than ever before, a compositional calculus asserts itself in these paintings (...)." (p.64) Which may all be very true of course, but which is also very dull, and in a way also very abstract. And whereas the layout of plates, diagrams and figures is cristalclear, I find the texts about them a lot less orderly.
Why not, before every church, a small historical introduction, and than a running and systematic textual commentary on the plates? And why not, for instance, systematically add the text of Bonaventura, on which the frescoes are based? This book has a strange way of taking its reader seriously, and at the same time not seriously enough. Where `s the editor? Where Poeschke does give an extended description of a fresco, he does so in an excellent way. But why not systematically combine the texts on the plates with the plates itself? I don't think this is really a quibble. It is a bit of a waste to produce a great looking book, without really thinking of the reader. It is easy to leaf through this book and say: "hey, this looks great", which it does, but I found reading it not always a pleasure.
But then, these are also wonderfull volumes, one has to admit. The quality of the photographs is excellent, the extensive coverage of many of the Italian medieval churches and chapels is a pleasure to behold. One may whine now and then at the tedious style, there is also an immense amount of knowledge assembled here. Would' nt it be great to have a very small pocketversion of an improved version of this book, just to take along to Italy?
Magnifico! January 11, 2006
Richard D. Kaneen (Tucson, Az USA)
18 out of 18 found this review helpful
The latest in the set of now four brilliant works on the frescoes of the Italian renaissance, "The Age of Giotto" is a masterwork that is worthy of a museum. From the Giotto, Simon Martini, Pietro Lorenzetti, and Cimabue wall paintings in the fascinating double church in Assisi, to the lesser known (and nearly disappeared) work by Cavallini in Santa Cecilia en Trastevere, the commentary is enlightening and the photography stunning. You will not find a better book on the early examples of this wonderful art form than this one. See the other three books - "The Early Renaissance", "The Flowering of the Renaissance" and "The High Renaissance and Mannerism" - for the compete, magnificent look at 200 years of fresco masterpieces.
Il Primo November 9, 2005
David E. Thomas (Australia)
11 out of 13 found this review helpful
One word describes this book - brilliant! This is the best book on the market for early Italian frescoes with a happy marriage of the finest photography and finest text. Congratulations and thanks.
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