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Invented around AD 1000, it soon achieved a dominant position in the arts of the Middle Ages, not only in churches but also in secular contexts.

There can be few examples of intensive fashioning and self-fashioning by a Renaissance figure more remarkable than Prince Henry (1594-1612).

Sir Peter Lely (1618-1680) was Charles II's Principal Painter and the outstanding artistic figure of Restoration England. When Lely arrived in England in the early 1640s his ambition was to be a painter of narrative scenes and not to work as a portraitist.

In celebration of their 250th anniversary, they are producing a commemorative catalogue, which traces the history of the gallery from its foundation in 1760 by the enterprising fireworks manufacturer Giavanni Battista Torre.

The exceptional bronzes presented here have been carefully selected to represent the Tomasso Bothers' passion for this most fascinating material, and they range from the dawn of Italian humanism in the early 15th century to the high point of the Italian late Baroque.

This beautifully designed and illustrated book celebrates the career of Jonathan Horne FSA, international authority on English pottery and for forty years a London dealer at the top of his field.

The importance of Gombrich's work on the history of taste has yet to be fully recognised, and when it comes to the application of developments in psychology to the visual arts he has remained largely on his own.

This study of a pivotal work in the troubled painter's oeuvre reveals his pioneering genius and the modernity of his search to capture a distillation of life in his own time.

Philip de Laszlo, following a meteoric rise to recognition in his native Hungary, settled in Britain in 1907 and became the leading portrait-painter in the country.

The self-portrait of Baccio Bandinelli in the Isabella Stewart Gardner Museum, Boston, shows the scupltor pointing not to a work of marble or bronze, but to a drawing. Bandinelli was particularly proud of his skills as a draughtsman, and he was prolific in his production of works on paper.

The Courtauld Gallery houses one of the most significant collections of works on paper in Britain, with approimately 7,000 drawings and watercolours and 20,000 prints ranging from the REnaissance to the 20th Century.

During the Tudor Age the South West was famed for the innovation and endeavor of its people.

"The artist should not only paint what he sees before him," claimed Caspar David Friedrich, "but also what he sees in himself." He should have "a dialogue with Nature". Friedrich's words encapsulate two central elements of the Romantic conception of landscape -- close observation of the natural world and the importance of the imagination.

Accompanying a landmark exhibition at the Courtauld Gallery, this book examines the remarkable drawings made by Du rer as a young man from 1490 to 1495, especially those made during his journeyman years, or Wanderjahre - considered the final part of a craftsman's training - and a second shorter trip which immediately followed and seems to have ...

In 1966 Mark Gambier-Parry bequeathed to the Courtauld the art collection formed by his grandfather Thomas Gambier Parry (who died in 1888). Since then, of the 28 ivories in the collection, about half have been on permanent display at The Courtauld, yet they have remained largely unknown, even to experts.

This book accompanies an exhibition at Waddesdon that will unite Chardin's four paintings of a boy with a house of cards for the first time (loans come from the Musee du Louvre, Paris; National Gallery, London; National Gallery of Art, Washington DC), allowing us to examine Chardin's treatment of the subject in the context of his fascination ...

Accompanying a major exhibition at Compton Verney, Warwickshire, this book examines the innate human desire to transcend the limitations of physiology and gravity - and to fly.

Ethiopia has often attracted attention because of its unique position as an ancient Christian culture far into Africa. Many people have been fascinated by the brilliant colours and childlike directness of traditional Ethiopian art.Little attention has been given, however, to the great art periods the culture has witnessed in the past. The fifteenth century saw a magnificent flowering of painting in the highlands of central and northern Ethiopia - in paintings on panel and above all in manuscripts.This book features an unparallelled collection of Ethiopian Christian artefacts, mostly fifteenth-century manuscripts and icons and metalwork but also some work from the two succeeding centuries.

Published to accompany the first substantial exhibition on the tradition of Spanish drawings to take place in London, this catalogue captures the excitement and importance of this rapidly developing field of study. It presents highlights from The Courtauld Gallerys collection of Spanish drawings, one of the most important in Britain. Comprising some 120 works, the collection ranges from the 16th to the 20th centuries and features examples by many of Spains greatest artists, including Ribera, Murillo, Goya and Picasso.

The Hamburg bankers son Aby Warburg (18661929) was one of the most influential art historians and cultural theorists of the 20th century. His lifes work was devoted to tracing antique formulas of representation in the depiction of human passions in Renaissance art. For this epoch-spanning relationship, he developed the term pathos formula (Pathosformel). In a lecture given in 1905 in the Konzerthaus in Hamburg, focusing on the young Albrecht Drers Death of Orpheus, Warburg outlined his thoughts in front of the original drawing, which he had borrowed from the rich holdings of the Kunsthalle in order to better illustrate his idea. This drawing, pivotal in the young artists development as an ambitious response to classical antiquity, was displayed during the lecture alongside a group of engravings and woodcuts which included not only some of Drers own seminal later prints, such as Melencolia I, but also engravings by Andrea Mantegna which Drer copied in 1494, the same year he drew the Death of Orpheus.Warburgs pop-up exhibition of eleven works has here been reconstructed and analyzed, using his fascinating lecture notes, sketches and slide lists. First developed by the Hamburger Kunsthalle in 2011, subsequently on view in Cologne in the Wallraf-Richartz Museum and now at The Courtauld Gallery, each institution has interpreted the material slightly differently, while retaining the core Warburg group.Aby Warburg aimed at unlocking the meaning of an art work by excavating its roots in its cultural context. By restaging his legendary display of 1905 with Drers Death of Orpheus at its heart, the exhibition and accompanying book present some of the most skillful and ambitious works on paper ever produced and also seek to introduce into Warburgs rich intellectual universe to a

Detailed biographies describe the lives of twelve collectors of tribal art in Britain, active between 1770 and 1990. These men were rarely field collectors and only occasional travellers, but they were vigorous hunters, for whom the pursuit, handling and possession of such objects was what mattered.

The Thomson Collection contains examples of the highest quality of most types of medieval ivory carving, both secular and religious.

There has never been a display like it. This is the catalogue to an ambitious exhibition at the Goldsmiths' Hall, London, which will comprise 250 gold and silver objects and sets of objects spanning the history of the Church from the earliest possible times to the present day.

Collecting Gauguin is the first of a new series of special Summer displays which will showcase aspects of The Courtauld's outstanding permanent collection.

Isabella Stewart Gardner routinely went toe-to-toe with major museums and titans of industry to purchase masterpieces, created a museum unlike any other, and was famous for consistently flouting the social conventions that governed women of her time. This book shows another side of Isabella that readers may not expect: her love of dogs.

Adam Elsheimer is first recorded in 1600 and by 1610 he was dead. But, rather like Giorgione, who had died young in Venice 100 years earlier, Elsheimer was influential on the coming century to a degree out of all proportion to his brief career and small oeuvre.

This catalogue accompanied an exhibition at the Groeninge Museum, Bruges, which celebrated one of the greatest European artists of the late fourteenth century, Andre Beauneveu, apparently born in Valenciennes c. 1335.

The Harold Samuel Collection Art Collection of Dutch and Flemish seventeenth-century pictures is one of the finest groups of Old Master paintings assembled in Britain over the past hundred years, but one of the least known.