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Andrea Del Sarto Antonio Natali Abbeville Press First U.S. Edition edition


30th June 2012 History Books 3 Comments

Natali, director of Renaissance and Mannerist paintings at Florence’s Uffizi Gallery, presents a summation of decades of work on del Sarto (1486-1530), one of the creators of the Mannerist style in Florence and France. Natali sets his vision of the artist against the traditional view, begun by Vasari, that del Sarto was a timid soul who wasted his talent. Instead, he shows del Sarto to have chosen a path that he rigorously followed in light of his humility and in a circle of like-minded friends and fellow artists. Not a catalogue raisonn?e (Natali defers to Sydney J. Freedberg’s Andrea del Sarto, 1963, and John Shearman’s Andrea del Sarto, 1965, as essentially complete catalogs), this book is rather a meditation based on a close reading of the artist’s environment and a close look at the pictures. The text is readily accessible to the general reader, with a clear translation from the Italian original, excellent illustrations of del Sarto’s Mannerist colors and forms, and a generous layout; beyond that, Natali’s revisionist argument will attract an academic audience.AJack Perry Brown, Art Inst. of Chicago
Copyright 1999 Reed Business Information, Inc.

Readable and stimulating… richly illustrated, beautifully produced…Natali’s book opens up an entirely different side of del Sarto…. — ARTnews, 1/00

By returning to original sources, Natali succeeds in introducing a new Andrea del Sarto (1486-1530), one whose brilliant and moving pictures leap off the pages with startling freshness. Since the 16th century, Andrea has been pictured as a “timid soul, ” a view first proposed in Vasari’s Lives and perpetuated without revision by later writers. According to this view, the artist was so shy and irresolute that he squandered his gift, living in near obscurity and refusing prosperity and worldly honors.

Not so, says Natali, who argues instead that Andrea chose a simple but culturally vibrant life in a circle of like-minded friends — intellectuals and common folk who practiced material austerity and humility. How can we label as timid an artist who painted a fresco cycle in Florence’s most prestigious sacred institution when he was barely twenty years old? asks Natali. How irresolute was the man who accepted an open-ended invitation from French king Francis to join his court in an era when few artists left Florence; who — amid rigid orthodoxy and accusations of heresy — filled his sacred paintings with bold theological content; who headed teams of renowned artists in learned artistic debates and in the execution of major commissions? With such provocative insights, this volume is certain to stimulate and delight art historians and nonscholars alike.

Readable and stimulating… richly illustrated, beautifully produced…Natali’s book opens up an entirely different side of del Sarto…. — ARTnews, 1/00

Andrea Del Sarto

Titian, Tintoretto, Veronese: Rivals in Renaissance Venice

“This show brought together some magnificent canvases to tell the story of three brilliant men who set painting on a new course while playing some very intricate games.” –Time Magazine, December 8, 2009 (Richard Lacayo)

For nearly four decades in the sixteenth century, the careers of Venice’s three greatest painters–Titan, Tintoretto and Veronese–overlapped, producing mutual influences and bitter rivalries that changed art history. Venice was then among Europe’s richest cities, and its plentiful commissions fostered an exceptionally fertile and innovative climate. In it, the three artists–brilliant, ambitious and fiercely competitive–vied with one another for primacy, employing such new media as oil on canvas, with its unique expressive possibilities, and such new approaches as a personal and identifiable signature style. They also pioneered the use of easel painting, a newly portable format that led to unprecedented fame in their lifetimes. With more than 150 stunning examples by the three masters and their contemporaries, this volume elucidates the technical and aesthetic innovations that helped define the uniquely rich “Venetian style,” as well as the social, political and economic context in which it flourished. Essays range from examinations of seminal new techniques to such crucial institutions as state commissions and the patronage system. Most of all, by concentrating on the lives and careers of Venice’s three greatest painters, Titian, Tintoretto, Veronese paints a vibrant human portrait–one brimming with savage rivalry, one-upsmanship, humor and passion.

Titian, Tintoretto, Veronese: Rivals in Renaissance Venice










  • 3 responses to "Andrea Del Sarto Antonio Natali Abbeville Press First U.S. Edition edition"

  • Bill Inspectors
    10:00 on July 1st, 2012
    Reply to comment

    This splendid catalogue documents the rivalry between Titian, Tintoretto and Titian in words and paintings. This exhibition had 56 paintings on display; and what a succession of great works they are! As would be expected, the informed reader would notice a number of previously familiar paintings. There are however a significant proportion of works that would be seen for the first time.

    I have one significant complaint about this otherwise excellent publication. There are 17 full page illustrations, detail reproductions of works appearing in other parts of the catalogue, that receive no written identification. This carelessness is very annoying and surprizing.

    Despite my single criticism, I still strongly recommend this excellent book for the interesting text and succession of magnificent paintings. Tintoretto fans are urged to investigate the superb Prado catalogue edited by Miguel Falomir. Even better, visit Venice and see his massive and untransportable masterpieces in person!

  • Craptastic
    1:21 on July 2nd, 2012
    Reply to comment

    In the peak of the Renaissance, competition between artists was higher than ever. “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice” is a look at the fierce rivalry that raged on throughout the sixteenth century. The three titular artists, each from similar backgrounds and influences, shared a fierce rivalry and the desire to be better than their peers. All three were widely considered by many to be some of the best artists to ever emerge from Venice. Their lives are traced through each of their works, and the works of their rivals. “Titian, Tintoretto, Veronese” is enhanced with full color reproductions of their classic artworks, and is a must for those studying Italian Renaissance art.

  • Stuart Benjamin
    13:04 on July 2nd, 2012
    Reply to comment

    This book – and the one on Sebastiano del Piombo – are the best acquisitions I have made this year on Italian painters of the first half of the XVIth century (another one on Dosso Dossi will soon follow).
    Andrea del Sarto’s career developed mainly in Florence, and he was highly esteemed by his peers, for even Vasari – Raphael’s friend and champion – called him “a faultless painter”. As he died young, his output was not very big, but its quality was outstanding. The illustrations are sharp and gorgeous and the text is well written. I would have preferred to have each chapter followed by a number of plates with extensive commentary. Here, the text is continuous and the plates have been inserted as closely as possible to the textual information.

    Highly recommended to those interested in early mannerist Florentine painting.

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