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DOI Artikel:Ames-Lewis, Francis: [Rezension von: Patricia Lee Rubin, Alison Wright (Hg.), Renaissance florence: the art of the 1470s, Bernard Aikema, Beverly Louise Brown (Hg.), Il Rinascimento a Venezia e la pittura del Nord ai tempi de Bellini, Dürer, Tiziano]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.49350#0682
661
FRANCIS AMES-LEWIS
London, Birkbeck College
Renaissance Florence: The Art ofthe 1470s,
London (National Gallery), 20 October 1999 - 16 January 2000. Catalogue edited by
Patricia Lee Rubin and Alison Wright, London (National Gallery Publications Limited),
1999; ISBN 1-85709-266 X (hardback), 1-85709-267-8 (paperback).
U Rinascimento a Venezia e la pittura del Nord ai tempi
de Bellini, Diirer, Tiziano
(Renaissance Venice and the North: Crosscurrents in the Time of Diirer, Bellini and
Titian), Venice (Palazzo Grassi), 5 September 1999 - 9 January 2000. Catalogue edited
by Bernard Aikema and Beverly Louise Brown (English version), London
(Thames & Hudson), 1999; ISBN 0-500-01980-0
Almost simultaneously, iwo important exhi-
bitions of Italian Renaissance art were put
on show at the National Gallery, London
and at the Palazzo Grassi in Venice. The National
Gallery exhibition was rather misleadingly entitled
Renaissance Florence, but had the morę precise and
accurate sub-title The Art ofthe 1470s. It was a rich
display of works from the major Florentine
workshops of the 1470s, arranged thematically. The
first room illustrated the rangę of Lorenzo ‘the
Magnificent’ de’Medici’s patronage during that
halcyon decade leading up to the catastrophe of the
Pazzi Conspiracy and the assassination of Lorenzo’s
brother Giuliano in 1478. The works shown included
exquisitely decorated manuscripts madę for Lorenzo,
such as the Holkham Book ofHours (cat. no. 4) given
by Lorenzo to his bride Clarice Orsini, one of the
hardstone vessels (5) into which he had his inscription
‘LAV.MED’ incised, and one of his precious, highly-
valued narrative cameos (6). The finał two rooms
displayed groups of works under the headings ‘Sacred
Beauty’ and ‘The Beautiful Camera'. Of these, the
first notably included a number of early paintings by
Filippino Lippi, produced as he emerged from
Botticelli’s workshop. The contents ofthe finał room
was a rather heterogeneous group of works madę for
the domestic context, including two grand cassoni
(from the Courtauld Institute Galleries; 78-9),
7. Andrea del Yerrocchio, Study for the head
of a nymph, London, British Museum,
1895-9015-785. Black chalk on paper
1. Andrea del Yerrocchio, Studium głowy
nimfy, Londyn, British Museum,
1895-9015-785. Węgiel na papierze
FRANCIS AMES-LEWIS
London, Birkbeck College
Renaissance Florence: The Art ofthe 1470s,
London (National Gallery), 20 October 1999 - 16 January 2000. Catalogue edited by
Patricia Lee Rubin and Alison Wright, London (National Gallery Publications Limited),
1999; ISBN 1-85709-266 X (hardback), 1-85709-267-8 (paperback).
U Rinascimento a Venezia e la pittura del Nord ai tempi
de Bellini, Diirer, Tiziano
(Renaissance Venice and the North: Crosscurrents in the Time of Diirer, Bellini and
Titian), Venice (Palazzo Grassi), 5 September 1999 - 9 January 2000. Catalogue edited
by Bernard Aikema and Beverly Louise Brown (English version), London
(Thames & Hudson), 1999; ISBN 0-500-01980-0
Almost simultaneously, iwo important exhi-
bitions of Italian Renaissance art were put
on show at the National Gallery, London
and at the Palazzo Grassi in Venice. The National
Gallery exhibition was rather misleadingly entitled
Renaissance Florence, but had the morę precise and
accurate sub-title The Art ofthe 1470s. It was a rich
display of works from the major Florentine
workshops of the 1470s, arranged thematically. The
first room illustrated the rangę of Lorenzo ‘the
Magnificent’ de’Medici’s patronage during that
halcyon decade leading up to the catastrophe of the
Pazzi Conspiracy and the assassination of Lorenzo’s
brother Giuliano in 1478. The works shown included
exquisitely decorated manuscripts madę for Lorenzo,
such as the Holkham Book ofHours (cat. no. 4) given
by Lorenzo to his bride Clarice Orsini, one of the
hardstone vessels (5) into which he had his inscription
‘LAV.MED’ incised, and one of his precious, highly-
valued narrative cameos (6). The finał two rooms
displayed groups of works under the headings ‘Sacred
Beauty’ and ‘The Beautiful Camera'. Of these, the
first notably included a number of early paintings by
Filippino Lippi, produced as he emerged from
Botticelli’s workshop. The contents ofthe finał room
was a rather heterogeneous group of works madę for
the domestic context, including two grand cassoni
(from the Courtauld Institute Galleries; 78-9),
7. Andrea del Yerrocchio, Study for the head
of a nymph, London, British Museum,
1895-9015-785. Black chalk on paper
1. Andrea del Yerrocchio, Studium głowy
nimfy, Londyn, British Museum,
1895-9015-785. Węgiel na papierze