From Library Journal
Painted between 1308 and 1311 for the high altar of the cathedral of Siena, Duccio di Buoninsegna's "Maest?" is not only a key monument in the genesis of European painting but also a work of supernal beauty. It is this beauty that is so lavishly documented in this superb gathering of 258 color plates. These superior reproductions permit a comprehensive appreciation of virtually every aspect of Duccio's complex and multifaceted work. The quality of the illustrations permit a kind of intimacy hardly possible even when viewing the painting in situ. Less satisfying, and certainly less significant, is Bellosi's (Cimabue, Giotto) introductory essay. In his too-abbreviated discussion, he sketches the origins of the "Maest?," elucidates its place within the artist's oeuvre, and provides a minimally functional description of its style and stylistic connections. What it lacks is adequate consideration of its condition, iconographic nuances, sense of function, and an account of its impact in its own epoch. On the basis of the illustrations alone, however, this lavish tome is recommended for collections concerned with trecento art.ARobert Cahn, Fashion Inst. of Technology, New York Copyright 1999 Reed Business Information, Inc.


Book Description
In 1308, Duccio di Buoninsegna, one of the foremost European artists and the founder of the Sienese school, signed a contract to paint a panel for the high altar of Siena's cathedral. Three years later, the richest and most complex altarpiece ever created in Italy--the Maest--was carried amid general jubilation from the artist's workshop to be installed in the cathedral. It was the greatest achievement of Duccio's career and remains one of the most beautiful works in Italian art. Centuries later, the altarpiece was removed from the cathedral and several panels were separated from it. While most of the Maest--forty-six panels--survives in Siena's Cathedral Museum, parts of it can be found in museum collections around the world, including the National Gallery and the Frick Collection. This book brings together the known fragments and unites them with the two-sided altarpiece, illustrating the work in 150 sumptuous color plates, many of which reproduce details in actual size. The central panel on the front of the altarpiece shows the Virgin Enthroned with Angels and Saints, while the back contains mainly scenes from the Passion. Other panels depict the Apostles and scenes from the Life of Christ and the Gospel story. The authoritative text, by a noted Italian art historian, discusses the social and historical context of Duccio's commission, the artist's relationship with Cimabue and Giotto, and the influence of the work on Sienese and Italian painting.


Language Notes
Text: English (translation)
Original Language: Italian


Card catalog description
"In this volume, we are brought face to face with the ultimate masterpiece of Sienese painting: Duccio's Maesta or Virgin in Majesty. Painted between 1308 and 1311, the Maesta was destined for a venerated position on the high altar of Siena Cathedral. Measuring nearly five metres in height and width, the completion of this vast altarpiece was celebrated by the whole city, marking an exceptional moment in the artistic and cultural history of Siena."--BOOK JACKET. "Beginning by looking at the work as a whole, Luciano Bellosi goes on to document each section, before isolating and examining particular details, reproduced to scale. He explores the historical background and provides an iconographic interpretation of the altarpiece, while shedding light on Duccio's personality and the creative process behind his work."--BOOK JACKET.

FROM THE PUBLISHER

In 1308, Duccio di Buoninsegna, one of the foremost European artists and the founder of the Sienese school, signed a contract to paint a panel for the high altar of Siena's cathedral. Three years later, the richest and most complex altarpiece ever created in Italy--the Maest￯﾿ﾽ--was carried amid general jubilation from the artist's workshop to be installed in the cathedral. It was the greatest achievement of Duccio's career and remains one of the most beautiful works in Italian art. Centuries later, the altarpiece was removed from the cathedral and several panels were separated from it. While most of the Maest￯﾿ﾽ--forty-six panels--survives in Siena's Cathedral Museum, parts of it can be found in museum collections around the world, including the National Gallery and the Frick Collection. This book brings together the known fragments and unites them with the two-sided altarpiece, illustrating the work in 150 sumptuous color plates, many of which reproduce details in actual size. The central panel on the front of the altarpiece shows the Virgin Enthroned with Angels and Saints, while the back contains mainly scenes from the Passion. Other panels depict the Apostles and scenes from the Life of Christ and the Gospel story. The authoritative text, by a noted Italian art historian, discusses the social and historical context of Duccio's commission, the artist's relationship with Cimabue and Giotto, and the influence of the work on Sienese and Italian painting.

SYNOPSIS

This book deserves the appellation "magnificent"for its subject matter and for its presentation. Painted between 1308 and 1311 by Duccio di Buoninsegna, the two-sided altarpiece known as "Maestà" (most of which survives splendidly in Siena's Catherdral Museum) stands as a pinnacle of artistic achievement. Presented here is an intimate and detailed view of the complete workincluding parts residing in museum collections around the world. More than 250 color plates, many of which reproduce details in actual size, provide a breathtaking close-up experience. Bellosi (Siena University) is an art historian and curator, and his essays offer historical background, an iconographic interpretation of the altarpiece, and information on the character of the great painter and his creative processes. The original edition was published in Italian (1998, Electa, Milan). This volume is distributed in the US by W.W. Norton. Annotation c. Book News, Inc., Portland, OR

FROM THE CRITICS

Library Journal