Dosso Dossi : Court Painter in Renaissance Ferrara

Humfrey, Peter; Lucco, Mauro; Dossi, Dosso; Andrea Bayer (editor) ; with Contributions by Andrea Rothe, Andrea Bayer, Dawson Carr, Jadranka Bentini, and Anna Coliva

ISBN 10: 0870998757 / ISBN 13: 9780870998751

Published by Museum, 1998

About this Item

Seller Inventory # 52005

Bibliographic Details

• Title: Dosso Dossi : Court Painter in Renaissance Ferrara
• Publisher: Museum
• Publication Date: 1998
• Language: English
• ISBN 10: 0870998757
• ISBN 13: 9780870998751
• Binding: Hardcover
• Condition: New

About this title

Synopsis

Great condition, like new, hard cover with dust jacket kept in mylar cover. Beautiful over sized art book. 328 pages 208 illustrations, including 103 in color technical appendix.

Review

From 1514 to 1542, Dosso Dossi was official painter to the court of Ferrara, one of the most enlightened centers of the Italian High Renaissance. His accomplished allegorical works and landscapes were very highly regarded--in 1568, Vasari, the leading critic of the time, described him as the greatest landscape painter in northern Italy. This book catalogs almost all of Dosso's surviving paintings, brought together in exhibitions by the Metropolitan Museum in New York and the Getty Museum in L.A. The authors use Dosso's work to demonstrate changing ideas during the Renaissance about the nature of art and the creative process of the individual artist. A wonderful example is Dosso's painting Jupiter, Mercury, and Virtue, in which Mercury ensures that Jupiter is not disturbed as he paints butterfly wings. Dosso was controversial in his time for painting directly onto a canvas without preparatory drawings; the catalog includes x-rays of the paintings that show how Dosso changed his compositions. It is fascinating to see his thought processes revealed directly in the layers of paint themselves. While recognizing that Dosso was a "slightly lesser genius" than Raphael or Michelangelo, or even Titian, who also worked at Ferrara, the catalog is an enchanting window on a highly cultured artistic community in 16th-century Italy. Like so many publications by the Met, this will be the standard work on its subject for a long time to come. --John Stevenson