Persian Manuscripts & Paintings from the Berenson Collection presents an in-depth analysis of the little-known Persian manuscripts and paintings collected by the world-renowned art historian, art critic, and connoisseur Bernard Berenson (1865–1959). It focuses on three manuscripts and four detached folios (containing over fifty paintings) from the fourteenth to the seventeenth century produced in Iran and Central Asia (with a later addition in Mughal India).
Fourteen essays are written by an international team of specialists in art history, Persian literature, statistics, conservation, and conservation science. The first two essays introduce Berenson’s collecting of these art works as an individual and as a trend among other collectors. The rest of the essays explain individual works of art. The Timurid Rasaʾil and the Safavid manuscripts Shahnama of Firdawsi and Farhad va Shirin of Vahshi are examined in groups of essays ranging from art historical to literary, statistical, and codicological analysis. The detached folios studied as single essays originate from the famous Great Mongol Shahnama; the 1436 Timurid Zafarnama of Sharaf al-Din ʿAli Yazdi; a Turkman Shahnama; and the dispersed Imperial Mughal Album also known as the Minto, Wantage, and Kevorkian albums. The appendix refers to the materials and techniques of the paintings in the volume.
This comprehensive, interdisciplinary collection illuminates many previously unexplored aspects of the Basilica of San Lorenzo’s history, extending from its Early Christian foundation to the modern era. Brunelleschi’s rebuilt Basilica, the center of liturgical patronage of the Medici and their grand-ducal successors until the nineteenth century, is today one of the most frequently studied churches in Florence. Modern research has tended, however, to focus on the remarkable art and architecture from ca. 1400–1600. In this wide-ranging collection, scholars investigate: the urban setting of the church and its parish; San Lorenzo’s relations with other ecclesiastical institutions; the genesis of individual major buildings of the complex and their decorations; the clergy, chapels and altars; the chapter’s administration and financial structure; lay and clerical patronage; devotional furnishings, music, illuminated liturgical manuscripts, and preaching; as well as the annual or ephemeral festal practices on the site. Each contribution offers a profound exploration of its topic, wide-ranging in its chronological scope. One encounters here fresh archival research, the publication of relevant documents, and critical assessments of the historiography. San Lorenzo is represented in this volume as a living Florentine institution, continually reshaped by complex historical forces.
The Medici controlled fifteenth-century Florence. Other Italian rulers treated Lorenzo the Magnificent (1449-1492) as an equal. To his close associates he was "the boss" ("master of the workshop"). But Lorenzo liked to say he was just another Florentine citizen. Were the Medici like the kings, princes and despots of contemporary Italy? Or were they just powerful citizens? This book takes a novel, comparative approach. It sets Medici rule against princely states such as Milan and Ferrara. It asks how much the Medici changed Florence and contrasts their supremacy with earlier Florentine regimes. The contributors take diverse angles, focusing on politics, political thought, social history, economic policy, religion, the church, humanism, intellectual history, Italian literature, theater, festivals, music, imagery, iconography, architecture, historiography, and marriage. This book is perfect for students of History, Renaissance Studies, Italian Literature, Art History or anyone keen to learn about one of history's most colorful, influential and puzzling families
.The Bernard and Mary Berenson Collection of European Paintings at I Tatti surveys the 149 works assembled by the Berensons for their home in Florence from the late 1890s through the first decades of the twentieth century at the time that they were making their mark on the world as connoisseurs. The catalogue presents a privileged window on the Berensons' intellectual interests through the objects they owned. The entries, written by an international team of art historians, take full advantage of the extensive correspondence from the Berensons' friends, family, and colleagues at I Tatti as well as the couple's diaries and notations on the backs of their vast gathering of photographs. All the entries are lavishly illustrated with full scholarly and technical accountings of the objects. There are also 17 illustrated reconstructions of the original contexts of panel paintings. The catalogue includes essays on the progress of the Berensons' collecting, their love for Siena, the Sienese forger Icilio Federico Joni, the critic Roger Fry, and René Piot's murals at I Tatti, as well as a listing of 94 pictures that were once at I Tatti including donations made to museums in Europe and America.
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