Focusing exclusively on examples from the 16th century, the great age of Italian drawing, this stunning volume, published to accompany an early-1994 exhibition at The Metropolitan Museum of Art, includes 124 prized works from The Metropolitan, the Pierpont Morgan Library, the Cooper-Hewitt Museum, and some 20 private collections in New York. The catalogue is organized by school and, within each section, chronologically by artist. Each drawing is illustrated and presented with a discussion that places it in the context of the artist's career and explores the purpose for which it was made. Paper edition (unseen), $35. Annotation copyright by Book News, Inc., Portland, OR

Focusing exclusively on examples from the 16th century, the great age of Italian drawing, this stunning volume, published to accompany an early-1994 exhibition at The Metropolitan Museum of Art, includes 124 prized works from The Metropolitan, the Pierpont Morgan Library, the Cooper-Hewitt Museum, and some 20 private collections in New York. The catalogue is organized by school and, within each section, chronologically by artist. Each drawing is illustrated and presented with a discussion that places it in the context of the artist's career and explores the purpose for which it was made. Paper edition (unseen), $35. Annotation copyright by Book News, Inc., Portland, OR

113 drawings from 12 Italian geographical areas included works by Raphael, Leonardo da Vinci, Pontormo, Titian, Paolo Veronese, and Jacopo Tintoretto. The works were selected by Konrad Oberhuber in collaboration with the owner, the celebrated cellist and art patron.After giving a cello concert at the Pierpont Morgan Library before the private opening of the exhibition in New York on December 11, the Hungarian-born Scholz, who was also celebrating his 70th birthday and the 40th anniversary of his arrival and first performance in this country, announced he would donate his collection of 1,500 Italian drawings and his reference books on the subject to the Morgan Library.

The immense effect that Michelangelo had on many artists working in the sixteenth century is widely acknowledged by historians of Italian Renaissance art. Yet until recently greater stress has been placed on the individuality of these artists' styles and interpretation rather than on the elucidation of their debts to others. There has been little direct focus on the ways in which later sixteenth-century artists actually confronted Michelangelo, or how those areas or aspects of their artistic production that are most closely related to his reveal their attitudes and responses to Michelangelo's work. Reactions to the Master presents the first coherent study of the influence exerted by Michelangelo's work in painting and sculpture on artists of the late-Renaissance period including Alessandro Allori, Agnolo Bronzino, Battista Franco, Francesco Parmigianino, Jacopo Pontormo, Francesco Salviati, Raphael, Giorgio Vasari, Marcello Venusti, and Alessandro Vittoria. The essays focus on the direct relations, such as copies and borrowings, previously underrated by art historians, but which here form significant keys to understanding the aesthetic attitudes and broader issues of theory advanced at the time.

The collection of drawings at the Getty Museum was started in 1981 with the purchase of Rembrandt’s Nude Woman with a Snake and has steadily expanded since then, so that now, at the turn of the new millennium, it stands at more than six hundred drawings and is, sheet for sheet, one of the best anywhere. The Getty goal is to create from the finest examples a collection of the different Western European schools of drawing before 1900, with special emphasis on the work of the most important and accomplished draftsmen. The collection now contains superb examples of the work of Leonardo da Vinci, Raphael, Michelangelo, Dürer, Rembrandt, Claude Lorraine, Watteau, Gainsborough, David, Millet, Manet, Van Gogh, and Degas. This is the fourth in the series of catalogues describing the drawings in the Getty Museum. Most of the drawings discussed in the present volume were chosen for the collection in the period of 1994 to 1998 and include examples from the Italian, German, Dutch and Flemish, French, Spanish, and British schools. Also included are several gifts from private collectors, which mark the start of a tradition that, it is hoped, will continue in the future. The catalogue entries for these new acquisitions are organized first by national school and then by artist. The book also includes a bibliography and indexes of artists, former owners, related drawings, prints, and works in other media.

The first comprehensive account of this Italian architect and antiquarian's life and multifaceted career.

Perhaps more than any other collector of his generation in the United States, Robert Lehman was interested in acquiring early drawings. He made a great effort to add drawings to the collection of paintings, sculpture, ceramics, glass, and other objects that his father, Philip Lehman, had begun assembling. The 116 Italian drawings analyzed and discussed in this volume are among the more than 2,000 works of art from the collection now housed in the Robert Lehman Wing of The Metropolitan Museum of Art. Robert Lehman's collection demonstrates the variety of drawings produced in Italy from the fifteenth to the seventeenth century, a period when the purposes and techniques of drawings, as well as the aims and abilities of the artist who made them, became increasingly sophisticated. The volume includes an elaborate design for an equestrian monument by Antonio Pollaiuolo, a magnificent study of a bear by Leonardo da Vinci, a cartoon by Luca Signorelli, a study for a vault fresco by Taddeo Zuccaro, and many other drawings that are among the best Italian examples to have survived from that era. Most types of drawings, in a wide variety of techniques, are represented—figure studies, grand compositions, landscapes, cartoons, modelli, and even sculptors' studies. -- Metropolitan Museum of Art website.