This richly illustrated publication brings together 93 paintings and 85 drawings from the Royal Collection, and accompanies an exhibition of international importance.

The Royal Collection has one of the largest and finest collections of Venetian art from the first half of the eighteenth century. It includes paintings, prints and drawings by Canaletto himself, as well as those of his contemporaries, such as Sebastiano and Marco Ricci, Antonio Visentini, Francesco Zuccarelli and Giovanni Battista Piazzetta. These artists were patronised by Consul Smith and their works were later purchased by George III. This lavishly illustrated catalogue marks the first time that the rich holdings of eighteenth-century Venetian art in the Royal Collection will have been brought together, and focuses on presenting these extraordinary works against the background of the social and artistic networks of the period. Whilst displaying and analysing the brilliant works of Canaletto himself, including his cityscapes, capriccios and paintings of architecture, this catalogue also discusses the intimate interior of Venetian life, explores the links between artists and the theatre in Venice at this time and looks at Venice as a centre for printmaking and book production.

Known as the "century of anatomy," the 16th century in Italy saw an explosion of studies and treatises on the discipline. Medical science advanced at an unprecedented rate, and physicians published on anatomy as never before. Simultaneously, many of the period's most prominent artists--including Leonardo and Michelangelo in Florence, Raphael in Rome, and Rubens working in Italy--turned to the study of anatomy to inform their own drawings and sculptures, some by working directly with anatomists and helping to illustrate their discoveries. The result was a rich corpus of art objects detailing the workings of the human body with an accuracy never before attained. "Art and Anatomy in Renaissance Italy "examines this crossroads between art and science, showing how the attempt to depict bone structure, musculature, and our inner workings--both in drawings and in three dimensions--constituted an important step forward in how the body was represented in art. While already remarkable at the time of their original publication, the anatomical drawings by 16th-century masters have even foreshadowed developments in anatomic studies in modern times.

Catalog of an exhibition held at the Queen's Gallery, Palace of Holyroodhous, April, 2011 and at the Queen's Gallery, Buckingham Palace, October, 2012.

A gloriously illustrated examination of the origins and development of the nude as an artistic subject in Renaissance Europe Reflecting an era when Europe looked to both the classical past and a global future, this volume explores the emergence and acceptance of the nude as an artistic subject. It engages with the numerous and complex connotations of the human body in more than 250 artworks by the greatest masters of the Renaissance. Paintings, sculptures, prints, drawings, illuminated manuscripts, and book illustrations reveal private, sometimes shocking, preoccupations as well as surprising public beliefs—the Age of Humanism from an entirely new perspective. This book presents works by Albrecht Dürer, Lucas Cranach, and Martin Schongauer in the north and Donatello, Raphael, and Giorgione in the south; it also introduces names that deserve to be known better. A publication this rich in scholarship could only be produced by a variety of expert scholars; the sixteen contributors are preeminent in their fields and wide-ranging in their knowledge and curiosity. The structure of the volume—essays alternating with shorter texts on individual artworks—permits studies both broad and granular. From the religious to the magical and the poetic to the erotic, encompassing male and female, infancy, youth, and old age, The Renaissance Nude examines in a profound way what it is to be human.

Tantalizing trivia. this Hitler, spoiling everything?"