David Alan Brown Knihy

Giovanni Bellini is being published for the first time since 1901. Highly popular at the time of its original publication (three editions were published between 1899 and 1901), Roger Fry's monograph was instrumental in rescuing Bellini from the oblivion of a Victorian-era reputation by reinterpreting and revaluing his art for an early twentieth-century audience. Giving a succinct but definitive view of Bellini's career, Fry not only brought to bear the new "scientific" connoisseurship in his analysis of individual pictures and their chronology, but he also brought a keen interest into Bellini's innovative use of semi-transparent oil glazes, the psychological depth of his subjects, and Bellini's profound sensitivity to nature. As a painter himself, Fry had the critical advantage of studying Bellini with a sympathy deepened by his own close awareness of aesthetic problems

The examination of Bellini's last works reveals a remarkable culmination of his artistry, showcasing a blend of innovation and mastery. This new scholarship highlights the significance of these pieces as a powerful farewell to his creative journey, illustrating the depth and emotion that characterize his final contributions to the art world.

Five centuries ago a stunningly beautiful young man with flowing blond locks sat for a portrait by Raphael. In the artist’s dynamic conception, Bindo Altoviti turns as if to speak to his Florentine bride, Fiammetta. Ardently admired over the years, as it is today, Raphael’s portrait was also coolly received by more than one influential critic who cast a shadow on its reputation. This gloriously illustrated book tells the story of the portrait’s creation and of its unexpected trajectory through history.Focusing on viewers’ responses to Bindo Altoviti, the book describes the transformation of the picture from a family treasure into a supposed self-portrait of the artist; its public display in Munich, where first it was celebrated, then dismissed by skeptics claiming that it was neither of nor by Raphael; and its acquisition by canny English dealers who lured the panel out of Nazi Germany. Purchased as a Raphael by American collector Samuel H. Kress, the painting was donated in 1943 to the newly opened National Gallery of Art, where Bindo’s image has beguiled visitors ever since.