This volume presents the proceedings of an international symposium organized by the Getty Conservation Institute and the J. Paul Getty Museum. The first conference of its kind in twenty years, the symposium assembled an international group of conservators of painted panels, and gave them the opportunity to discuss their philosophies and share their work methods. Illustrated in color throughout, this volume presents thirty-one papers grouped into four topic areas: Wood Science and Technology, History of Panel-Manufacturing Techniques, History of the Structural Conservation of Panel Paintings, and Current Approaches to the Structural Conservation of Panel Paintings.

The multiplicity of the self and the inaccessibility of truth are commonplaces of contemporary thought. But in Seeing Things Hidden they become key features of a philosophy of history that reunites emancipatory political theory with the apocalyptic tradition. Apocalyptic is the revelation of things hidden. But what does it mean to be hidden? And why are things hidden in the first place? By gently teasing out the meanings of hiddenness, this book develops a new theory of apocalyptic and explores its relation to the writings of Kant, Hegel, Benjamin and Derrida. Exploiting affinities between the work of Lukács and recent American philosophers like Rorty and Cavell, Bull argues that the central dynamic of late modernity is the coming into hiding of the contradictory identities generated through political and social emancipation. Drawing on analytic and Continental philosophy he articulates the most ambitious philosophy of history since Francis Fukuyama's The End of History, presenting fresh interpretations of such icons of modernity as Hegel's master-slave dialectic, Benjamin's angel of history, Du Bois's concept of double consciousness, and Rawls's veil of ignorance.

Consummate painter, draftsman, sculptor, and architect, Michelangelo Buonarroti (1475–1564) was celebrated for his disegno, a term that embraces both drawing and conceptual design, which was considered in the Renaissance to be the foundation of all artistic disciplines. To his contemporary Giorgio Vasari, Michelangelo was “the divine draftsman and designer” whose work embodied the unity of the arts. Beautifully illustrated with more than 350 drawings, paintings, sculptures, and architectural views, this book establishes the centrality of disegno to Michelangelo’s work. Carmen C. Bambach presents a comprehensive and engaging narrative of the artist’s long career in Florence and Rome, beginning with his training under the painter Domenico Ghirlandaio and the sculptor Bertoldo and ending with his seventeen-year appointment as chief architect of Saint Peter’s Basilica at the Vatican. The chapters relate Michelangelo’s compositional drawings, sketches, life studies, and full-scale cartoons to his major commissions—such as the ceiling frescoes and the Last Judgment in the Sistine Chapel, the church of San Lorenzo and its New Sacristy (Medici Chapel) in Florence, and Saint Peter’s—offering fresh insights into his creative process. Also explored are Michelangelo’s influential role as a master and teacher of disegno, his literary and spiritual interests, and the virtuoso drawings he made as gifts for intimate friends, such as the nobleman Tommaso de’ Cavalieri and Vittoria Colonna, the marchesa of Pescara. Complementing Bambach’s text are thematic essays by leading authorities on the art of Michelangelo. Meticulously researched, compellingly argued, and richly illustrated, this book is a major contribution to our understanding of this timeless artist.

Leonardo's Angel in the Flesh went on display for the first time in the great exhibition on Leonardo's Bridges organised by Sweden in order to celebrate its entrance into the European Community in 1993 and 1994. It received much attention by the media, making numerous newspaper headlines. And since it was all too easy to recognize the appearance of the demoniacal Salai - the handsome boy, object of Leonardo's presumed homosexual attentions - in this singular blasphemous image in the nude, the Swedish exhibition was to include another novelty, the counterpart of the same character in the painting of a Dressed-up Salai in the Alos Foundation.

Verrocchio worked in an extraordinarily wide array of media and used unusual practices of making to express ideas.