A beautifully illustrated volume which explores one of the central themes of Christian Art: Christ as the Man of Sorrows,Passion in Venice: Crivelli to Tintoretto and Veronese draws on works by some of the of the greatest names in Venetian painting including Veronese, Tintoretto, Crivelli, Giambono and the Bassano family. It creates a new and illuminating context for these great masters by considering their work alongside contemporary works in other media, and from other parts of Western Europe, including Tuscany, France, Spain, Germany and the Netherlands. An essay by Catherine Puglisi and William Barcham explores the origins of the image of Christ as Man of Sorrows and its emergence as a distinct and central devotional image in the religious life of Venice from about 1300. The authors address the questions of who was the Man of Sorrows and why the figure grew significantly in Venice during the late Middle Ages and the early Renaissance. Xavier Seubert's essay focuses on the appeal of the Man of Sorrows as an image expressing anguish, which encourages the viewer to identify with suffering, and offers hope for deliverance and redemption. The main catalogue section presents illuminated manuscripts, paintings, sculptures, prints, drawings and liturgical objects from major American and European collections, including the Metropolitan Museum of Art, New York, the National Gallery of Canada, the J Paul Getty Center and the National Gallery, London, almost none of which have been linked before through the study of a common artistic theme.

Cinderella will go to the ball... and be seduced by the prince. Prince Vittorio's spontaneous invitation to shy hotel maid Rosa is supposed to end at Venice's most exclusive Carnival ball. Yet their instant chemistry soon leads to a scorching encounter! It's meant to be Vittorio's last taste of pleasure before duty demands he marry and provide an heir. But will one night with unexpected virgin Rosa be enough to slake his desire for her?

KEYNOTE: Featuring ffty masterworks by Mantegna, Giorgione, Titian, Veronese, and Tintoretto, this stunning book examines the brilliant painters who transformed the art of Renaisssance Venice. Featuring fifty masterworks by Mantegna, Giorgione, Titian, Veronese, and Tintoretto, this stunning book examines the brilliant painters who transformed the art of Renaissance Venice. Among the singular moments in the evolution of Western art, the Venetian Renaissance forged an artistic vocabulary of dazzling virtuosity. Celebrating the poetic potential of color and beauty observed in nature, Venetian painters of the fifteenth and sixteenth centuries transcended the spatial, textural, and emotional realism of their predecessors to create works unsurpassed in their sensual depictions, velvety surfaces, and unique and glorious treatment of light. Focusing on canonical works from Vienna's Kunsthistorisches Museum (one of the world's four great imperial museums, along with the Hermitage, the Louvre, and the Prado), this book's lavish illustrations and illuminating essays offer a rich introduction to the treasures of the Venetian Renaissance. Among the spectacular artworks are Mantegna's tortured Saint Sebastian, Titian's enigmatic Bravo (The Assassin) and sumptuous Danäe, and a rare group of paintings by the elusive Giorgione, including Portrait of a Young Woman (Laura) and The Three philosophers. The book also includes exemplary works by Veronese, Palma ecchio, Bordone, and Bassano, among others, revealing the full range of Venetian accomplishment in the Renaissance era. AUTHOR: Sylvia Ferino is director of the Gemaldegalerie of the Kunsthistorisches Museum, Vienna, and an expert on Italian painting. Lynn Federle Orr is curator in charge of European art at the Fine Arts Museums of San Francisco. Among her recent publications is The Cult of Beauty: The Aesthetic Movement 1860-1900 100 colour illustrations

Like most 18th century Venetians, Adriana d'Amato adores music—except her strict merchant father has forbidden her to cultivate her gift for the violin. But she refuses to let that stop her from living her dreams and begins sneaking out of her family's palazzo under the cover of night to take violin lessons from virtuoso violinist and composer Antonio Vivaldi. However, what begins as secret lessons swiftly evolves into a passionate, consuming love affair. Adriana's father is intent on seeing her married to a wealthy, prominent member of Venice's patrician class—and a handsome, charming suitor, whom she knows she could love, only complicates matters—but Vivaldi is a priest, making their relationship forbidden in the eyes of the Church and of society. They both know their affair will end upon Adriana's marriage, but she cannot anticipate the events that will force Vivaldi to choose between her and his music. The repercussions of his choice—and of Adriana's own choices—will haunt both of their lives in ways they never imagined. Spanning more than 30 years of Adriana's life, Alyssa Palombo's The Violinist of Venice is a story of passion, music, ambition, and finding the strength to both fall in love and to carry on when it ends.

In both Vasari's life and in his Lives, prints played important roles. This volume examines Giorgio Vasari's interest, as an art historian and as an artist, in engravings and woodblock prints, revealing how it sheds light on aspects of Vasari's career, and on aspects of sixteenth-century artistic culture and artistic practice. It is the first book to study his interest in prints from this dual perspective.

Investigating a killing, Macintyre finds it to be a family affair As snow falls on Venice, turning the city into an elaborate gothic confection, Gaby Pindar fears for her life. Crippled by intense agoraphobia, she hasn’t left her family home in two decades, instead dedicating herself to tending to the small collection of historical trinkets that make up the family museum. When she begins receiving death threats, she begs for help from her cousin, the Contessa da Capo-Zendrini, whose friend Urbino Macintyre is something of an amateur sleuth. But the search takes a gruesome turn when Gaby’s sister, Olimpia, turns up dead. The contessa finds Olimpia murdered in her home, the maid kneeling above her with a bloody pair of scissors. Convinced of the maid’s innocence, Macintyre digs into the Pindar family history, discovering centuries’ worth of intrigue that have finally erupted in blood.

Romance: Sipping wine in the dramatic Piazza San Marco in Venice was just the change of scenery Laura Green needed. What she hadn't expected was for a handsome Italian, Domenico Chiesa, to seduce her! Passion: It turned out to be a week's vacation spent being wined and dined in the most exclusive restaurants; a week of sizzling sexual tension which neither Laura nor Domenico wanted to end.... Betrayal: But, despite their passions, Domenico had kept something extremely important from Laura. A secret that, once she was home in England, would have startling repercussions....