Federico Barocci

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Aegidius Sadeler
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Alessandra Giannotti *
art and religion
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B01=Judith W. Mann
Babette Bohn
Baroque
Black Chalk
Carol Plazzotta
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Category=AGA
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Category=HBJD
Category=HBLH
Category=NHD
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Category=WFA
Christ Child
Claudio Pizzorusso *
Collection Frits Lugt
color
COP=United Kingdom
Counter Reformation
David Ekserdjian *
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Des Arts Graphiques
draftsman
drawings
Duke Guidubaldo
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Europe
Federico Barocci
Fondation Custodia
Gabinetto Disegni
Galleria Nazionale Delle Marche
iconography
Il Perdono
Italian art
Language_English
Madonna Del Popolo
Madonna Della Misericordia
Michelangelo Merisi Da Caravaggio
Musei Vaticani
Oil Sketches
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painting
patronage
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religious art
Renaissance art
Richard E. Spear
Santa Maria Della Consolazione
softlaunch
Staatliche Museen Zu Berlin
Stampe Degli Uffizi
Stuart Lingo
studio
the Entombment
the nude
Wall Hangings
Young Man

Product details

  • ISBN 9780367331047
  • Weight: 410g
  • Dimensions: 174 x 246mm
  • Publication Date: 20 May 2019
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
  • Language: English
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Reviewers of a recent exhibition termed Federico Barocci (ca. 1533–1612), 'the greatest artist you’ve never heard of'. One of the first original iconographers of the Counter Reformation, Barocci was a remarkably inventive religious painter and draftsman, and the first Italian artist to incorporate extensive color into his drawings. The purpose of this volume is to offer new insights into Barocci’s work and to accord this artist, the dates of whose career fall between the traditional Renaissance and Baroque periods, the critical attention he deserves. Employing a range of methodologies, the essays include new ideas on Barocci’s masterpiece, the Entombment of Christ; fresh thinking about his use of color in his drawings and innovative design methods; insights into his approach to the nude; revelations on a key early patron; a consideration of the reasons behind some of his most original iconography; an analysis of his unusual approach to the marketing of his pictures; an exploration of some little-known aspects of his early production, such as his reliance on Italian majolica and contemporary sculpture in developing his compositions; and an examination of a key Barocci document, the post mortem inventory of his studio. A translated transcription of the inventory is included as an appendix.

Judith W. Mann is Curator of European Art to 1800 at the Saint Louis Art Museum, USA.