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Format: Hardcover
ISBN-10: 0810963469
ISBN-13: 9780810963467
Nov 1997
Publisher: Harry N Abrams Inc
659 pages
Language: English |
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Details
| Size | | Length: | 659 pages | | Height: | 13.3 in | | Width: | 10.3 in | | Thickness: | 2.2 in | | Weight: | 163.2 oz |
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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