| Details | | Publication Date: | 1997-11-01 |
| Size | | Length: | 659 pages | | Height: | 13.3 in | | Width: | 10.3 in | | Thickness: | 2.2 in | | Weight: | 163.2 oz |
Publisher's Note
The collection of the Prado Museum in Madrid is among the most prestigious in the world. Its riches include paintings that once decorated the palaces of kings and emperors and by the most renowned names in the history of Western art -- Botticelli, Bosch, Bruegel, Tintoretto, Titian, El Greco, Velazquez, Rubens, Goya, and scores of other artists. This handsome volume, prepared in cooperation with the Prado, presents more than 800 of the museum's magnificent paintings. Eminent art historians describe the works themselves and their social, cultural, and political contexts, and discuss the collection as a whole, which reflects the changing tastes and styles of the past 500 years. The vivid colorplates, made from specially taken photographs, are fully integrated with the text.
Industry Reviews
Known less for its comprehensiveness than for its unsurpassed holdings of such masters as El Greco, Vel zquez, Goya, Titian, and Tintoretto, the Prado Spain's national art museum is comparable to such shrines as Vienna's Kunsthistorisches Museum or the Louvre. This massive, unwieldy but gorgeous book is by necessity an incomplete record of the museum's vast contents: it shows just paintings (no drawings, decorative art, or sculpture) and even then contains fewer than half the holdings of some of the artists mentioned above. Nevertheless, it is the most impressive view of the Prado available, short of buying a plane ticket to Madrid. The selection and quality of the profuse reproductions are conspicuously good. The uncomplicated texts, written by scholars and curators from a number of renowned institutions, focus on the provenance and aesthetic merits of particular works and offer commentaries on the schools of painting comprising the collection. Highly recommended for those with the budget; others should look to Santiago Blanch's excellent but cheaper The Prado (LJ 9/15/91). Douglas F. Smith, Oakland P.L., Cal.
Scheeren
This [is a] massive overview of the Prado. . . . [The essays are] of uniformly high quality. . . . Italian and Spanish paintings are the star turn, but Flemish paintings run a close second. The first study that gives full accessibility to this superb collection. General; undergraduate; graduate; faculty.
Annotation copyright H.W. Wilson Company.
Pincus
This massive, unwieldy but gorgeous book is by necessity an incomplete record of the museum's vast contents. . . . Nevertheless, it is the most impressive view of the Prado available, short of buying a plane ticket to Madrid. The selection and quality of the profuse reproductions are conspicuously good. The uncomplicated texts, written by scholars and curators from a number of renowned institutions, focus on the provenance and aesthetic merits of particular works and offer commentaries on the schools of painting comprising the collection. Highly recommended for those with the budget; others should look to Santiago Blanch's excellent but cheaper The Prado.
Annotation copyright H.W. Wilson Company.
Smith
Known less for its comprehensiveness than for its unsurpassed holdings of such masters as El Greco, Vel zquez, Goya, Titian, and Tintoretto, the Prado Spain's national art museum is comparable to such shrines as Vienna's Kunsthistorisches Museum or the Louvre. This massive, unwieldy but gorgeous book is by necessity an incomplete record of the museum's vast contents: it shows just paintings (no drawings, decorative art, or sculpture) and even then contains fewer than half the holdings of some of the artists mentioned above. Nevertheless, it is the most impressive view of the Prado available, short of buying a plane ticket to Madrid. The selection and quality of the profuse reproductions are conspicuously good. The uncomplicated texts, written by scholars and curators from a number of renowned institutions, focus on the provenance and aesthetic merits of particular works and offer commentaries on the schools of painting comprising the collection. Highly recommended for those with the budget; others should look to Santiago Blanch's excellent but cheaper The Prado (LJ 9/15/91). Douglas F. Smith, Oakland P.L., Cal.
Library Journal (02/01/1998)
Known less for its comprehensiveness than for its unsurpassed holdings of such masters as El Greco, Vel?zquez, Goya, Titian, and Tintoretto, the Prado Spain's national art museum is comparable to such shrines as Vienna's Kunsthistorisches Museum or the Louvre. This massive, unwieldy but gorgeous book is by necessity an incomplete record of the museum's vast contents: it shows just paintings (no drawings, decorative art, or sculpture) and even then contains fewer than half the holdings of some of the artists mentioned above. Nevertheless, it is the most impressive view of the Prado available, short of buying a plane ticket to Madrid. The selection and quality of the profuse reproductions are conspicuously good. The uncomplicated texts, written by scholars and curators from a number of renowned institutions, focus on the provenance and aesthetic merits of particular works and offer commentaries on the schools of painting comprising the collection. Highly recommended for those with the budget; others should look to Santiago Blanch's excellent but cheaper The Prado (LJ 9/15/91). Douglas F. Smith, Oakland P.L., Cal.
Library Journal (02/01/1998)
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