The Renaissance Portrait from Donatello to Bellini (Gesichter der Renaissance: Meisterwerke italienische Portrait‐Kunst), (Berlin, Bode‐Museum, 25 August–20 November 2011, and New York, The Metropolitan Museum of Art, 21 December 2011–18 March 2012) edited by KeithChristiansen and StefanWeppelmann (eds.), The Renaissance Portrait from Donatello to Bellini, with essays by Patricia Rubin, Beverly Louise Brown, Peter Humfrey, Stefan Weppelmann and Rudolf Preimesberger.

Abstract

Renaissance StudiesVolume 28, Issue 1 p. 147-159 Review of exhibition The Renaissance Portrait from Donatello to Bellini (Gesichter der Renaissance: Meisterwerke italienische Portrait-Kunst), (Berlin, Bode-Museum, 25 August–20 November 2011, and New York, The Metropolitan Museum of Art, 21 December 2011–18 March 2012) edited by Keith Christiansen and Stefan Weppelmann (eds.), The Renaissance Portrait from Donatello to Bellini, with essays by Patricia Rubin, Beverly Louise Brown, Peter Humfrey, Stefan Weppelmann and Rudolf Preimesberger. New York: The Metropolitan Museum of Art; New Haven, CT: distributed by Yale University Press, 2011. 420 pp. with 255 colour and 6 b & w illus., $65.00 (€50.00). ISBN: 978-1588394255 (hb: The Metropolitan Museum of Art); 9780300175912 (hb: Yale University Press). Dennis Geronimus, Dennis Geronimus New York UniversitySearch for more papers by this author Dennis Geronimus, Dennis Geronimus New York UniversitySearch for more papers by this author First published: 24 April 2013 https://doi.org/10.1111/rest.12010 The essay contributions feature Patricia Rubin's stimulating introduction to Renaissance (particularly Florentine) portraiture, not only in the context of fifteenth-century conventions but also nineteenth-century enthusiasm for the genre in the writings of Burckhardt, Berenson, Warburg and others; Beverly Louise Brown on Italian court portraiture, with special attention to the origins and functions of medals; Peter Humfrey on the Venetian tradition; Stefan Weppelmann on the subject of likeness, as it pertains to the conceptual differences between outward guise and character; and, finally, Rudolf Preimesberger's painstakingly close reading of Alberti, taking as his cue the famous quotation from De Pictura (On Painting, 1435 and 1436), ‘The face that is known draws the eyes of all spectators’. Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume28, Issue1February 2014Pages 147-159 RelatedInformation