Nardo di cione biography of michael jackson
A select bibliography of external publications and resources, organized by period and subject matter.
Basic Texts
Ayres, J. The Artist’s Craft. A History of Tools, Techniques and Materials. Oxford: Phaidon, 1985.
Bomford, D, ed. Underdrawings in Renaissance paintings. London: National Gallery Company; Yale University Press, 2002.
Carr, D. and Leonard, M. Looking at Paintings. A Guide to Technical Terms. Los Angeles: The J. Paul Getty Museum, 1992.
Constable, W.C. The Painter’s Craft. Practices, Techniques and Materials. First published in 1954, Dover Publications, various reprintings.
Conti, A, and Glanville, H. A History of the Restoration and Conservation of Works of Art. Oxford [Eng.]: Butterworth-Heinemann, 2007.
Eastlake, C. Methods and Materials of Paintings of the Great Schools and Masters, Volumes I and II. First published in 1847, reprinted by New York: Dover Publications, various reprintings.
De Wild, A.M. The Scientific Examination of Pictures. An investigation of the pigments used by the Dutch and Flemish Masters from the brothers Van Eyck to the middle of the 19th century. London: G. Bell and Sons, 1929.
Doerner, M. The Materials of the Artist and their Use in Painting with Notes on the Techniques of the Old Masters. First published in 1921, various reprintings.
Laurie, A.P. The Technique of the Great Painters. Carroll and Nicholson Ltd., 1949.
Mayer, R. Artist’s Materials and their use in Painting. Various editions.
Stoner, J H and Rushfield, R, eds. The Conservation of Easel Paintings. New York, NY: Routledge, 2012.
Studying and Conserving Paintings. London: Archetype and The Conservation Center of the Institute of Fine Arts, New York University, 2006.
Toch, M. Paint, Paintings and Restoration. New York: D. Van Nostrand Co., revised edition, 1931.
Artist Materials and Techniques
Treatises on Painting
Bardwell, T. The Practice of Painting and Pers The List of painters in the National Gallery of Art is a list of the named artists in the National Gallery of Art, Washington, D.C. whose works there comprise oil paintings, gouaches, tempera paintings, and pastels. The online collection contains roughly 4,000 paintings by 1,000 artists, but only named painters with the previously mentioned techniques are listed alphabetically here. The artist's name is followed by a title of one of their works and its ID number. For artists with more than one work in the collection, or for works by unnamed or unattributed artists, see the National Gallery of Art website or the corresponding Wikimedia Commons category. Of artists listed, there are only 18 women, including Rosalba Carriera, Mary Cassatt, Angelica Kauffmann, Judith Leyster, Georgia O'Keeffe, Élisabeth Louise Vigée Le Brun, and Marguerite Zorach. For the complete list of artists and their artworks in the collection, see the website www.nga.gov Nardo di Cione, an Italian painter and sculptor of the 14th century, is renowned for his contributions to the Gothic art movement, particularly within the Florentine school. One of his notable works is "St John the Evangelist," a painting that exemplifies his skill in religious iconography and his ability to convey profound spiritual themes through art. "St John the Evangelist" by Nardo di Cione is a significant piece that reflects the artist's deep engagement with religious subjects, a common theme in his oeuvre. The painting portrays St John, one of the twelve apostles of Jesus and the author of the Fourth Gospel, the Book of Revelation, and three Epistles. Known for his theological depth and mystical visions, St John is often depicted with symbols such as the eagle, representing the soaring heights of his theological insight. In this work, Nardo di Cione captures the saint in a moment of serene contemplation, a common characteristic of Gothic religious art that aims to evoke a sense of piety and introspection in the viewer. The use of rich, vibrant colors and meticulous attention to detail are hallmarks of Nardo's style, which he likely developed under the influence of his more famous brother, Andrea di Cione, known as Orcagna. The painting is also notable for its use of gold leaf, a technique that adds a divine luminescence to the figure of St John, emphasizing his sanctity and otherworldly nature. This technique was prevalent in Gothic art, aiming to create a visual representation of the heavenly realm. Nardo di Cione's "St John the Evangelist" not only serves as a devotional image but also as a testament to the artist's mastery of the Gothic style and his ability to convey complex theological concepts through visual means. The work remains an important piece for understanding the religious and artistic milieu of 14th-century Florence.List of painters in the National Gallery of Art
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St John the Evangelist
Orcagna
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Andrea di Cione; Orcagnais probably a corruption of Arcagnuolo (‘Archangel’), a nickname acquired from his home in the parish of San Michele. He was the most important Florentine painter, sculptor and architect of the mid-fourteenth century. Vasari says that he was taught by the sculptor Andrea Pisano. A date of birth of about 1308 has been deduced from Vasari’s statement that he lived until the age of sixty; but Vasari almost invariably exaggerates the longevity of his subjects and a later birth-date (perhaps 1315-20) seems more likely. He is first recorded in 1343, when he executed a work (now lost) for the Compagnia di Gesù Pellegrino in Santa Maria Novella, and he was admitted to the guild of the Medici e Speziali in 1343-44. In 1350 he was commissioned to decorate the choir of Santa Maria Novella, but his frescoes were apparently damaged by lightning as early as 1358 and were finally destroyed when Ghirlandaio painted his famous cycle. His only surviving documented painting is the altarpiece in the Strozzi Chapel of Santa Maria Novella, which was commissioned in 1354 and is dated 1357. This grave, formal and rigidly symmetrical altarpiece has little sense of spatial depth or of volume or movement in the figures, and represents a break with the naturalistic, two-dimensional and dynamic style of Giotto and his immediate followers.
In 1356 Orcagna was appointed capomaestro (head architect) of Orsanmichele, and his main work in sculpture is the great marble tabernacle there, which is dated 1359. In 1359/60 and 1362 he visited Orvieto, where he was capomaestro of the cathedral and supervised the restoration of the mosaics on the façade. In September 1367 he contracted to paint the altarpiece of St Matthew for Orsanmichele (now in the Uffizi); but, as he was sick, it was completed by a younger brother Jacopo di Cione (active 1362-98). He died, it seems, in 1368.
Another brother Nardo (active 1343-65) was al