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The Painted Page: Italian Renaissance Book Illumination 1450-1550 (Art & Design), by Jonathan J. G. Alexander
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From Library Journal
The demise of the illuminated book brought about by the printing press and the introduction of perspective was fortunately slow in coming. This cogently introduced, scrupulously documented, and exquisitely illustrated exhibition catalog amply demonstrates that manuscript painting, although often ill regarded, was a flourishing and vital branch of Italian Renaissance art. Fortuitously presaged and complemented by Laurence B. Kanter's Painting and Illumination in Early Renaissance Florence, 1300-1450 (LJ 3/15/95), this volume proves the case for the continuity and efflorescence of the illuminated page into the late Renaissance. Eschewing strict chronological order, the catalog proper is intelligently structured along thematic lines. Among the categories pursued are religious and humanistic texts, patrons and illuminators and that terminal oddity-the hand-illuminated printed book. In addition to the works themselves, which are expansively described and superbly illustrated, three excellent essays and a glossary provide a social, stylistic, and technical context for these superb objects. For informed readers.Robert Cahn, Fashion Inst. of Technology, New YorkCopyright 1995 Reed Business Information, Inc.
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Product details
Series: Art & Design
Hardcover: 273 pages
Publisher: Prestel Pub (November 1, 1994)
Language: English
ISBN-10: 3791313851
ISBN-13: 978-3791313856
Product Dimensions:
10 x 1 x 12.2 inches
Shipping Weight: 3.4 pounds (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
3 customer reviews
Amazon Best Sellers Rank:
#2,604,801 in Books (See Top 100 in Books)
The previous reviewer notes that Italian manuscripts in the earier part of the century were rather lackluster, and I tend to agree, with the addition that the aesthetic was very different from Northern Europe. The glory of France was in the Book of Hours, the pride of England was in the Grand Psalter, and Italy and Spain seemed to revel in the Sumptuous Choirbook. These were meant to be seen at a distance, and possessed a glory of design, rather than detail. They often remain in their original churches or local museums, and do not reproduce as exquisitely as smaller prayerbooks. In the later 15th and 16th centuries, the taste and expense showed greater predilection for private, highly detailed volumes that are almost unbelievably crafted even compared to the glories of Flanders and France. It might be noted that many of these supremely costly volumes had relatively few paintings, frequently only the Frontispieces. That is good from the standpoint of being able to see a lot of different things in one catalog. The workmanship here is magnificent, and emphasized by really good photography. The authors provide copious and scrupulously documented notes and the Introductions provide a nice foundation without reaching too extensive a length. I find the material a bit too rich to digest in large quantities, but adds interest: How many of these books could reasonably be afforded by anyone short of a Medici Prince? The French and Flemish catalogs usually have a range of quality, value, and provenance, but these are all from the top eschelon only. So enjoy the richest of the rich.
This book features plates and commentary regarding a exhibition of illuminated manuscripts from Italy that toured the US several years ago. Like most exhibition catalogs, it features essays about the general era as it pertains to the art, descriptions and histories of many of the items in the exhibit, and photographic reproductions of many of the best items in the exhibition. The editorial review pretty acurately describes the bare-bones contents, and so I won't repeat that worthy information here. Italian illumination prior to about 1450 is, in my opinion, lackluster. The French, Flemish, and English were doing a much better job of painting books. However, the examples presented in this book prove just how beautiful Italian illumination could be once the Italians hit their stride. The paintings and illuminations featured in this catalog range from pretty to exquisite to sublimely beautiful. This book has provided me with lots of inspiration in my own work as a modern-day book illuminator, and I highly recomend it to any other artist seeking inspriation in this genre.
A beautiful book, which I will use in my classroom; though I still would have liked more images.
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