Trevisan, Luca (ed.): Renaissance Intarsia. Masterpieces of Wood Inlay.
New York, Abbeville Press Publishers, 2012. 4to. 32,5 x 27,5 cms. 256 pp. Richly illustrated in colour. With bibliographical references and index.
Publisher’s red cloth, pictorial dustjacket. Very fine.
English language version of ”Tarsie lignee del Rinascimento in Italia”.
Contents: ”Episodes in the development of Italian Renaissance intarsia”, ”Florence: the Sacrestia Delle Messe in the Duomo, 1436-45, 1463-68. Antonio Manetti, Agnolo di Lazzaro, and Giuliano da Maiano”, ”Urbino: the studiolo of Federico da Montefeltro in the Palazzo Ducale, (1474-76). Benedetto da Maiano”, ”Padua: the choir and reliquary cabinet of the Basilica del Santo, (1462-69), (1475-77). Cristoforo and Lorenzo Canozi da Lendinara”, ”Vicenza: the choirs of Monte Berico, San Bartolomeo, and Santa Corona, (1484-89). Pier Antonio degli Abati”, ”Mantua: the Grotta of Isabella d'Este in the Palazzo Ducale, (c. 1506). Antonio and Paolo Mola”, ”Verona: the choir and sacristy of Santa Maria in Organo, (1494-1500), (1518-23). Fra Giovanni da Verona”, ”Siena: the choir of Monte Oliveto Maggiore, (1504-5). Fra Giovanni da Verona”, ”Naples: the intarsias of Sant'Anna de Lombardi, (1506-10), and the Certosa di San Martino, (c. 1514). Fra Giovanni da Verona and Giovan Francescco d'Arezzo”, ”Bergamo: the choir of the Basilica di Santa Maria Maggiore, (1524-33). Lorenzo Lotto and Giovan Francesco Capoferri”, ”Reggio Emilia: the choir of the Basilica di San Prospero, (1457-58, 1544-46). Cristoforo and Lorenzo Canozi da Lendinara, and Cristoforo de Venetiis”, ”Bologna: the choir of the Basilica di San Domenico, (1528-51). Fra Damiano Zambelli”, - - - ”The techniques of intarsia” by Paolo Pizzati.
(Publisher:) ”Among the so-called minor arts in the Italian Renaissance, perhaps the most astounding in its virtuosity, was that of intarsia, or wood inlay, in which countless pieces of wood of various species were fitted together like a jigsaw puzzle so as to form exquisite pictures. The masters of intarsia adopted the newly developed technique of linear perspective to depict their most characteristic themes, namely, cityscapes viewed through an archway and illusionistic renderings of half-open cabinets filled with liturgical or scholarly equipment. At first these enchanting scenes in wood were found mainly in ecclesiastical settings - on choir stalls and in sacristies - but by the later Quattrocento they were also used to decorate the Studioli, or private studies, of powerful secular patrons. Eventually, in the Cinquecento, intarsists began to push the limits of their medium with figural scenes of ever-greater complexity; this ambitious yet perhaps quixotic attempt to rival the art of painting led to many technical and aesthetic innovations, but also to an abandonment of intarsia’s natural geometric strengths and its ultimate decline as an independent art. In this volume, the first modern survey of Renaissance intarsia, a team of art historians trace the evolution of the medium through a discussion of twelve of the most important intarsia cycles. These include the famous studiolo of Federico da Montefeltro in the ducal palace at Urbino; the sacristy of Santa Maria in Organo at Verona, which Vasari described as the most beautiful in all of Italy; and the choir of Santa Maria Maggiore in Bergamo, the cartoons for which were prepared by Lorenzo Lotto. Drawing on the latest scholarship and, in some cases, newly discovered documentary evidence, the authors explain the historical context and iconography of these masterpieces, as well as their connections to the painting, sculpture, and architecture of the time. Their insightful essays are illustrated with some two hundred new color images, the result of an extensive photographic campaign carried out exclusively for this work. Admirably filling in a unique chapter of art history, Renaissance Intarsia will be essential reading for scholars and enthusiasts of art, and a powerful source of inspiration for contemporary artists and craftsmen”.