Published to accompany an exhibition held at The National Gallery, London, 12 June-29 September 2019.

This volume aims to show through various case studies how the interrelations between Jews, Muslims and Christians in Iberia were negotiated in the field of images, objects and architecture during the Later Middle Ages and Early Modernity. . By looking at the ways pre-modern Iberians envisioned diversity, we can reconstruct several stories, frequently interwoven with devotional literature, poetry or Inquisitorial trials, and usually quite different from a binary story of simple opposition. The book’s point of departure narrates the relationship between images and conversions, analysing the mechanisms of hybridity, and proposing a new explanation for the representation of otherness as the complex outcome of a negotiation involving integration. Contributors are: Cristelle Baskins, Giuseppe Capriotti, Ivana Čapeta Rakić, Borja Franco Llopis, Francisco de Asís García García, Yonatan Glazer-Eytan, Nicola Jennings, Fernando Marías, Elena Paulino Montero, Maria Portmann, Juan Carlos Ruiz Souza, Amadeo Serra Desfilis, Maria Vittoria Spissu, Laura Stagno, Antonio Urquízar-Herrera.

This book aims to analyze the genesis and evolution of late Gothic painting in the Crown of Aragon and the rest of the Hispanic kingdoms, examining this phenomenon in relation to the whole context of Europe in the second half of the fifteenth century. The authors consider the influence of the Flemish primitive movement on the art produced by their Spanish colleagues, the artistic relations and interchanges with the Netherlands and other countries, and the introduction and development of the Flemish language in the Spanish lands. The book also examines altarpieces, considering topics such as changes in shape and structure and liturgical links, along with offering stylistic analyses supported by new technologies. Contributors are Joan Aliaga, Maria Antonia Argelich, Marc Ballesté, Judith Berg Sobré, Carme Berlabé, Eduardo Carrero, Ximo Company, Francesca Español, Francesc Fité, Montserrat Jardí, Nicola Jennings, Fernando Marías, Didier Martens, Isidre Puig, Nuria Ramón, Pedro José Respaldiza, Stefania Rusconi, Tina Sabater, Albert Sierra, Pilar Silva, Lluïsa Tolosa, Alberto Velasco, and Joaquín Yarza (†).

A follow-up to The Secret Language of Flowers: Notes on the Hidden Meanings of Flowers in Art . To celebrate the 30th anniversary of the Louvre pyramid, Jean-Michel Othoniel was invited to create a work relating the importance of flowers in the Museum's eight art departments. The artist photographed the floral wealth concealed in the masterpieces of the Museum's painting, drawing, sculpture, embroidery and enamel collections. Using this, Othoniel composes his own original herbarium, accompanied with notes on the secret language of flowers and their symbolism in the history of art. Among the seventy details of flowers, you will find the thistle in Dürer's selfportrait, the poppy in the Paros funerary stele, the apple sitting on a stool in The Lock by Fragonard, or the peony attached to the unfastened blouse of the young woman in Greuze's Broken Pitcher. The work also introduces us to lesser-known details in works, offering a magnificent treasure hunt for visitors of the museum. Amid this vast prairie spangled with symbolic flowers, the artist asks this question: If there could be only one, which would be the Louvre's flower? A question to which the artist himself offers his own response.

This book analyzes the genesis and evolution of the late Gothic painting in the Crown of Aragon and the Hispanic kingdoms, examining this phenomenon in relation to the whole context of Europe in the second half of the fifteenth century.

First published in 1997. For this second edition of Art Books: A Basic Bibliography of Monographs on Artists, the vast number of new books published since 1985 was surveyed and evaluated. This has resulted in the selection of 3,395 additional titles. These selections, reflective of the increase in the monographic literature on artists during the last ten years, are evidence of the activities of a larger number of art historians in more countries worldwide, of the increasingly diverse and ambitious exhibition programs of museums whose number has also increased dramatically, and also of a lively international art market and the attendant gallery activities. The selections of the first edition have been reviewed, errors have been corrected and important new editions and reprints have been noted. The second edition contains 278 names of artists not represented in the first edition.