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Passion in VeniceCrivelli to Tintoretto and Veronese

Published by GILES in association with the Museum of Biblical Art, New York

Add to Cart US$45.00

Published — (UK and USA)

Dimensions — 176 pages, 280 x 240 mm (9½ x 11 in.), portrait

Illustrations — 93 colour and 6 b & w

Format — Hardback

ISBN — 978-1-904832-82-9

Press Release — The Man of Sorrows in Venetian Art

News  —  The Museum of Biblical Art, New York reopens on...

Sales Points

"Passion in Venice provides the stimulus to undertake ... an [iconographic] examination and a trove of material with which to do so" Lauren Jacobi, The Burlington Magazine "MOBIA's substantial $45 catalog grapples with the visual inheritance of centuries, assessing the vast scholarship surrounding the Man of Sorrows imagery and pushing that scholarship ahead. " Matthew Milliner, Huffington Post

About the Book

A beautifully illustrated volume which explores one of the central themes of Christian Art: Christ as the Man of Sorrows, Passion in Venice: Crivelli to Tintoretto and Veronese draws on works by some of the of the greatest names in Venetian painting including Veronese, Tintoretto, Crivelli, Giambono and the Bassano family. It creates a new and illuminating context for these great masters by considering their work alongside contemporary works in other media, and from other parts of Western Europe, including Tuscany, France, Spain, Germany and the Netherlands. An essay by Catherine Puglisi and William Barcham explores the origins of the image of Christ as Man of Sorrows and its emergence as a distinct and central devotional image in the religious life of Venice from about 1300. The authors address the questions of who was the Man of Sorrows and why the figure grew significantly in Venice during the late Middle Ages and the early Renaissance. Xavier Seubert’s essay focuses on the appeal of the Man of Sorrows as an image expressing anguish, which encourages the viewer to identify with suffering, and offers hope for deliverance and redemption. The main catalogue section presents illuminated manuscripts, paintings, sculptures, prints, drawings and liturgical objects from major American and European collections, including the Metropolitan Museum of Art, New York, the National Gallery of Canada, the J Paul Getty Center and the National Gallery, London, almost none of which have been linked before through the study of a common artistic theme.

About the Author(s)

William Barcham is professor in the department of the History of Art at the Fashion Institute of Technology, the State University of New York. He is the author of The Religious Paintings of Giambattista Tiepolo: Piety and Tradition in Eighteenth-century Venice (1990), and Paintings in the National Gallery, London (2000) with Augusto Gentili and Linda Whiteley. In 2004, Dr. Barcham was awarded the SUNY Chancellor’s Award for Excellence in Scholarship. Catherine Puglisi is professor and chair of the department of Art History at Rutgers University, New Jersey, where she specializes in Italian Baroque painting and sculpture. She is the author of Caravaggio (1998) and of the monologue and catalogue raisonné on Francesco Albani (1999). Xavier John Seubert is Thomas Plassmann Distinguished Professor for Art and Theology at St. Bonaventure University, New York, where he is also director of the Art History department. He has contributed to In Solitude and Dialogue: Contemporary Franciscans Theologize (2000), Postmodern Worship and the Arts (2002), and Between the Human and the Divine: Philosophical and Theological Hermeneutics (2002).