The vivid portrait of Piero della Francesca in a new edition.
Sifting the available evidence, Carlo Ginzburg builds up a vivid portrait of Piero della Francesca's patrons and convincingly explains the contemporary intrigues resonant in his painting. This new edition, extensively illustrated, includes additional material by Ginzburg dealing with the work of Roberto Longhi, the dating of the Arezzo Cycle, and the rediscovery of della Francesca in the twentieth century. 123 b/w illustrations.
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Book Description
Editorial Reviews
Review
The persuasiveness of his brilliant chain of argument is such that, in the end, the conclusions seem as firm as if based on first-hand documents. (The Times )
An excellent translation of a brilliant and stimulating thesis, well-produced and richly illustrated. (Hugh Trevor-Roper - The Listener )
A cerebral detective story that uncovers the still pertinent bond between power and art. (The Village Voice )
Includes much valuable research on the involvement of Piero's patrons in the great political, religious and cultural events of the time. (London Review of Books )
An excellent translation of a brilliant and stimulating thesis, well-produced and richly illustrated. (Hugh Trevor-Roper - The Listener )
A cerebral detective story that uncovers the still pertinent bond between power and art. (The Village Voice )
Includes much valuable research on the involvement of Piero's patrons in the great political, religious and cultural events of the time. (London Review of Books )
Language Notes
Text: English, Italian (translation)
--This text refers to an out of print or unavailable edition of this title.
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Most Helpful Customer Reviews
23 of 25 people found the following review helpful:
4.0 out of 5 stars
The enigma of Carlo,
By A Customer
This review is from: The Enigma of Piero: Piero Della Francesca (Hardcover)
An immense pleasure! Carlo Ginsburg reminds us more than once that he is not an art historian, but an historian. As such, his approach to paintings such as Piero della Francesca's "Flagellation" which to our eyes are difficult if not unfathomable iconographically, is not bound to the orthodoxies of specialist methodology. If this sounds heady and dense, it is. This is not a book for the casual admirer of Renaissance painting because much of the suspense(and it is suspenseful) is reading the author's discrediting of other interpretations(these are often amusing), suggesting the roadmap he will take to circumvent the errors of the previous historians, then elegantly exhuming the necessary evidence and reasoning to produce-voila- a fresh, impressively founded exegisis before our very eyes. One marvels at the depth and breadth of cultural knowledge that is this historian's primary resource, and facility with archives. But there is another dimension to this book. As one reads, one understands that this is the work of contemporary humanist, and the source of his insights is perhaps this empathy, if not kinship with his subject, whether patron or artist.
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