Roma 1818: George Washington, il Bonaparte che rinunciò a un regno e un giovane scultore virtuoso del canto nell'atelier di Antonio Canova

Da Tiepolo a Carrà. I grandi temi della vita nelle collezioni delle Fondazioni

Fernando Mazzocca
Silvana Editoriale

Ottocento lombardo. Arti e decorazioni

Fernando Mazzocca
Gruppo Banca Lombarda

Raccolta Max Bondi

Galleria Lurati
s.e.

I dipinti della National Gallery of Art di Washington

John Oliver Hand
Magnus

Asta dell'eredità giacente Dr. Barone Mario Confalonieri (Catalogo n.9 Stagione 1976-1977, anno LXXIV)

AA.VV.
Gallerie d'arte Geri

Venezia. Le gallerie dell'Accademia

AA.VV.
Istituto dell'Enciclopedia italiana fondata da G. Treccani

Le tavolette votive della Madonna dei Miracoli di Lonigo

AA.VV.
Parrocchia S. Maria in Madonna dei Miracoli

Il bambino Gesù

Cesare Bissoli
Franco Maria Ricci

Oltre Bering. Le colonie russe del Nord Pacifico 1741-1867

Jean-Loup Rousselot, Veronika Grahammer
Gabriele Capelli Editore

Bissone, peote e galleggianti

Giandomenico Romanelli, Filippo Pedrocco
Alfieri

Le culture del Perù

Antonio Aimi
Silvana Editoriale

Imprinting the Divine

Annemarie Weyl Carr
Yale University Press

The Menil's collection of Byzantine and related icons is widely regarded as one of the most important in the United States. Comprising more than sixty works, many acquired by Dominique de Menil in 1985 from the noted British collector Eric Bradley, the group spans twelve hundred years, from the sixth to the eighteenth centuries, and encompasses a number of distinct cultures, including Greek, Balkan, and Russian. In this volume, the first publication to survey this diverse collection, leading scholars explore the history and meaning of these remarkable works, and their continuing power to surprise and impress.

Orthodox Christianity developed in the Near East during the Byzantine Empire, in time yielding eleven autocephalous communions of which the Greek, Russian, Romanian, Serbian, and Bulgarian Orthodox churches are the largest today. Each maintained the tradition of icon painting rooted in Byzantium but inflected it in distinctive ways. Transcending time and place through a delicate balance of tradition and innovation, these images of saintly or divine figures were designed to imprint their holy subjects on the human mind. Though largely dismissed as backward by Renaissance and Enlightenment Europeans, icons captured the imagination of early modernist painters, and contemporary audiences appreciate them as aesthetic objects.

Distributed for The Menil Collection

Exhibition Schedule:

The Menil Collection
(10/21/11-03/04/12)