Often referred to by the subject of its central panel, The Adoration of the Mystic Lamb, it represents the fulcrum between the Middle Ages and the Renaissance. It is also the most frequently stolen artwork of all time.Since its completion in 1432, this twelve-panel oil painting has been looted in three different wars, burned, dismembered, forged, smuggled, illegally sold, censored, hidden, attacked by iconoclasts, hunted by the Nazis and Napoleon, used as a diplomatic tool, ransomed, rescued by Austrian double-agents, and stolen a total of thirteen times.In this fast-paced, real-life thriller, art historian Noah Charney unravels the stories of each of these thefts. In the process, he illuminates the whole fascinating history of art crime, and the psychological, ideological, religious, political, and social motivations that have led many men to covet this one masterpiece above all others.

    A republican city-state funded by trade and banking, its often bloody political scene was dominated by rich mercantile families, the most famous of which were the Medici. This enthralling book charts the family's huge influence on the political, economic and cultural history of Florence. Beginning in the early 1430s with the rise of the dynasty under the near-legendary Cosimo de Medici, it moves through their golden era as patrons of some of the most remarkable artists and architects of the Renaissance, to the era of the Medici Popes and Grand Dukes, Florence's slide into decay and bankruptcy, and the end, in 1737, of the Medici line.

    But sometimes Jesus spoke words that followers then and now have found difficult. He instructs disciples to hate members of their own families (Luke 14:26), to act as if they were slaves (Matthew 20:27), and to sell their belongings and give to the poor (Luke 18:22). He restricts his mission (Matthew 10:6); he speaks of damnation (Matthew 8:12); he calls Jews the devil's children (John 8:44).In The Difficult Words of Jesus, Amy-Jill Levine shows how these difficult teachings would have sounded to the people who first heard them, how have they been understood over time, and how we might interpret them in the context of the Gospel of love and reconciliation.Additional components for a six-week study include a DVD featuring Dr. Levine and a comprehensive Leader Guide.

    A shrewd businessman, international ambassador, passionate scholar, devout Catholic, and loving family man, Rubens--fluent in six languages, no less--cared about nothing more than painting, and thus devoted his life to it. Combining typical Flemish realism with classical themes influenced by the Renaissance, Rubens caught the attention of all of Europe and helped put his native Antwerp on the map. His very profitable workshop of accomplished artists, one of whom was Van Dyck, completed over 2000 works under his supervision.

    The thirty-one poems in the first of his major writings are linked by a lyrical prose narrative celebrating and debating the subject of love. Composed upon Dante's meeting with Beatrice and the "Lord of Love," it is a love story set to the task of confirming the "new life" inspired by this meeting. With a critical introduction and explanatory notes, this is a new translation of a supreme work which has been read variously as biography, religious allegory, and a meditation on poetry itself.

    as beautiful, and yet we know also that beauty lies in the eye of the beholder. concrete and the sublime. also to celebrate its mysterious and at times mythical power. complementary interpretations, leading us from Hogarth's belief that the essence of beauty lies in shapely curves, to Kant's discourses on the meaning of pleasure. response both to beauty and to happiness. As he shows, the ability to truly recognise the beauty that surrounds us in the everyday could enable us to deepen the enjoyment of our lives.

    Brilliant in its interpretation of the 16th-century master's paintings, this monumental biography of Titian draws on contemporary accounts and recent art historical research and scholarship, some of it previously unpublished, providing an unparalleled portrait of the artist, as well as a fascinating rendering of Venice as a center of culture, commerce, and power. Sheila Hale's Titian is destined to be this century's authoritative text on the life of greatest painter of the Italian High Renaissance.

    He was also a murderer and a braggart, a shameless adventurer who at different times experienced both papal persecution and imprisonment, and the adulation of the royal court. Inn-keepers and prostitutes, kings and cardinals, artists and soldiers rub shoulders in the pages of his notorious autobiography: a vivid portrait of the manners and morals of both the rulers of the day and of their subjects. Written with supreme powers of invective and an irrepressible sense of humour, this is an unrivalled glimpse into the palaces and prisons of the Italy of Michelangelo and the Medici.

    (Architecture)

    Sir Mortimer Wheeler describes the architecture and town planning, thesculpture and painting, the silverware, glass, pottery and the otherrich artistic achievements of the era.

    It consists of 143 paintings of small size, rarely larger than 20 x 30 inches, many of them now considered icons of 20th century art, most of them seIf-portraits. The reasons for this ostensible narcissism were closely bound up with Kahlo's biography, with the country and epoch in which she grew up, and with her decidedly eccentric character. It was no coincidence that the major enigmatic minds of the 16th century, namely Hieronymous Bosch and Pieter Bruegel the Elder, were among her favorite painters. For Frida Kahlo never displayed her wounds directly--be it the physical wounds caused by accidents and illness, or the psychological inner wounds. Hers is a subtly enciphered symbolic language, rich in metaphors drawn from almost all the world's cultures. Aztec myths of creation. Far Eastern and Classical Greek mythology, and popular Catholic beliefs all mingle in Kahlo's pictures with Mexican folklore and the stuff of quotidian life, with Marx and Freud. Andre Breton, one of her many admirers among the European avant-garde, once described Kahlo's art as a "colored ribbon round a bomb." Exotic and explosive, sensuous and fascinatingly vital in terms of artistic statement. Kahlo's paintings shed a complex and often frightening light on her soul, her "inner reality." as she called it. If the incessant commercial marketing of Kahlo's paintings over the past decade had obscured a clear view of her extraordinary oeuvre, this present monograph attempts to make amends "Frida Kahlo: The Painter and Her Work returns to the heart, to 42 select masterpieces, reproduced in full and in detail. The painterly quality, the beauty, and theimmense wealth of details in Kahlo's paintings is laid out before the reader's eyes, as is the abyss in which the artist found herself.

    The creator of expansive tableaus of fantastic and hellish scenes—where any devil not dancing is too busy eating human souls—he has been as equally misunderstood by history as his paintings have. In this book, Nils Büttner draws on a wealth of historical documents—not to mention Bosch’s paintings—to offer a fresh and insightful look at one of history’s most peculiar artists on the five-hundredth anniversary of his death.             Bosch’s paintings have elicited a number a responses over the centuries. Some have tried to explain them as alchemical symbolism, others as coded messages of a secret cult, and still others have tried to psychoanalyze them. Some have placed Bosch among the Adamites, others among the Cathars, and others among the Brethren of the Free Spirit, seeing in his paintings an occult life of free love, strange rituals, mysterious drugs, and witchcraft. As Büttner shows, Bosch was—if anything—a hardworking painter, commissioned by aristocrats and courtesans, as all painters of his time were. Analyzing his life and paintings against the backdrop of contemporary Dutch culture and society, Büttner offers one of the clearest biographical sketches to date alongside beautiful reproductions of some of Bosch’s most important work. The result is a smart but accessible introduction to a unique artist whose work transcends genre.

    Against the background of an age which saw the rebirth of ancient and classical learning - of humanism which penetrated and explored the arts and sciences and the 'dark' knowledge of alchemy, astrology, and numerology - Paul Strathern explores the intensely dramatic rise and fall of the Medici family in Florence, as well as the Italian Renaissance which they did so much to sponsor and encourage. Interwoven into the narrative are the lives of many of the great Renaissance artists with whom the Medici had dealings, including Leonardo, Michelangelo and Donatello, as well as scientists like Galileo and Pico della Mirandola, both of whom clashed with the religious authorities. In this enthralling study, Paul Strathern also follows the fortunes of those members of the Medici family who achieved success away from Florence, including the two Medici popes and Catherine de' Médicis who became Queen of France and played a major role in that country through three turbulent reigns. Vivid and accessible, the book ends with the gloriously decadent decline of the Medici family in Florence as they strove to be recognised as European Princes.

    Few of his works - including the huge frescoes of the Sistine Chapel Ceiling, the marble giant David and the Last Judgment - were small or easy to accomplish. Like a hero of classical mythology - such as Hercules, whose statue he carved in his youth - he was subject to constant trials and labours.In Michelangelo Martin Gayford describes what it felt like to be Michelangelo Buonarroti, and how he transformed forever our notion of what an artist could be.

    Guiding the reader through a church outside Rome, Sant'Agnese fuori le Mura, she draws upon history, theology, anthropology, and folklore to illuminate the spiritual meanings embedded in its architecture.