Background
Mr. Clayton was born in Harrogate, North Yorkshire, United Kingdom, on December 30, 1967. His parents were David and Brenda Clayton.
(Leonardo da Vinci (1452-1519) spent over twenty-five year...)
Leonardo da Vinci (1452-1519) spent over twenty-five years investigating the workings of the human body. While his paintings were widely known in his day, only a few friends and associates had any intimation of the extent of his medical research. Leonardo's "Anatomical Manuscript A," created over the winter of 1510-11, is the only group of such drawings in which he approached complete coverage of the human form, and it represents his finest work in this area. This fascinating book presents a complete discussion of all the drawings in Manuscript A, not only as evidence of Leonardo's artistic genius, but also as the product of the sophisticated scientific investigations they represent. Each drawing records a meticulous human dissection and is extensively annotated with Leonardo's notes, questions, and memoranda to himself in "mirror-writing," (backward writing legible only when held up to a mirror, the motivations for which have been the subject of much speculation). Each drawing is reproduced twice: once in its original form and once with a new English translation in place of Leonardo's original notes. The authors comment on the accuracy of the anatomical renderings and the conclusions Leonardo draws from them.
http://www.amazon.com/gp/product/1606060201/?tag=2022091-20
(Leonardo da Vinci was a pioneer in the study of the human...)
Leonardo da Vinci was a pioneer in the study of the human body. Intent on exploring and explaining every aspect of anatomy and physiology, he performed over thirty dissections of humancadavers and many more of animals. He is also among the greatest draftsmen ever to have lived, and his studies of skeletons, musculature, and other visible structures remain to this day largely unsurpassed in their lucidity. In addition to his anatomical drawings, Leonardo meticulously recorded his many findings on the pages of his notebooks with the hope of one day publishing a treatise on anatomy. Among the more than one thousand pages of these notebooks were a number of important discoveries that, had they been published, would have transformed Western understanding of biological sciences. But despite admiration by the likes of Benvenuto Cellini, Giorgio Vasari, and Albrecht Dürer—who made a number of drawings from Leonardo’s anatomical studies—the work was never completed and the drawings remained largely unpublished and little known until around 1900. Since the seventeenth century, the Royal Library at Windsor Castle has housed the world’s most significant collection of Leonardo’s surviving anatomical studies. Generously illustrated throughout, this volume presents ninety of the finest of these astonishing documents—the largest publication of Leonardo’s anatomical drawings to date—accompanied by an informative discussion of their anatomical content and their significance in Leonardo’s pioneering work. In addition to his anatomical drawings, Leonardo meticulously recorded his many findings on the pages of his notebooks with the hope of one day publishing a treatise on anatomy. Among the more than one thousand pages of these notebooks were a number of important discoveries that, had they been published, would have transformed Western understanding of biological sciences. But despite admiration by the likes of Benvenuto Cellini, Giorgio Vasari, and Albrecht Dürer—who made a number of drawings from Leonardo’s anatomical studies—the work was never completed and the drawings remained largely unpublished and little known until around 1900. Since the seventeenth century, the Royal Library at Windsor Castle has housed the world’s most significant collection of Leonardo’s surviving anatomical studies. Generously illustrated throughout, this volume presents ninety of the finest of these astonishing documents—the largest publication of Leonardo’s anatomical drawings to date—accompanied by an informative discussion of their anatomical content and their significance in Leonardo’s pioneering work.
http://www.amazon.com/gp/product/1909741035/?tag=2022091-20
(Dürer’s Self-Portrait at Age Twenty-Eight. Hockney’s Self...)
Dürer’s Self-Portrait at Age Twenty-Eight. Hockney’s Self-Portrait with Cigarette. Melzi’s drawing of Leonardo da Vinci, widely regarded as the most reliable surviving likeness of this most famous Old Master. Throughout history, many of the world’s most renowned artists have made portraits to represent themselves and others. The first book to focus on images of artists from within the Royal Collection, Portrait of the Artist brings together paintings, drawings, prints, and photographs by artists from across the centuries, including works by Rembrandt van Rijn, Peter Paul Rubens, David Hockney, and Lucian Freud. While some of the portraits included in this book were created to showcase the artist’s talent, others were motivated by more personal reasons, to preserve the images of cherished friends. Anna Reynolds, Lucy Peter, and Martin Clayton explore the miscellany of themes running throughout the discipline of portraiture, from the rich symbolism found in images of the artist’s studio to the transformation of styles with which artists depictedthemselves, changing their portrayals to align with their changing status. They also explore the relationships between artists and patrons, including the important role of the monarchy in commissioning and collecting portraits of artists. Published to accompany a major exhibition opening in the fall at The Queen’s Gallery, Buckingham Palace, Portrait of the Artist provides a fascinating new perspective on this tradition, with lavish color illustrations of works from the fifteenth century to the present. Dürer’s Self-Portrait at Age Twenty-Eight. Hockney’s Self-Portrait with Cigarette. Melzi’s drawing of Leonardo da Vinci, widely regarded as the most reliable surviving likeness of this most famous Old Master. Throughout history, many of the world’s most renowned artists have made portraits to represent themselves and others. The first book to focus on images of artists from within the Royal Collection, Portrait of the Artist brings together paintings, drawings, prints, and photographs by artists from across the centuries, including works by Rembrandt van Rijn, Peter Paul Rubens, David Hockney, and Lucian Freud. While some of the portraits included in this book were created to showcase the artist’s talent, others were motivated by more personal reasons, to preserve the images of cherished friends. Anna Reynolds, Lucy Peter, and Martin Clayton explore the miscellany of themes running throughout the discipline of portraiture, from the rich symbolism found in images of the artist’s studio to the transformation of styles with which artists depictedthemselves, changing their portrayals to align with their changing status. They also explore the relationships between artists and patrons, including the important role of the monarchy in commissioning and collecting portraits of artists. Published to accompany a major exhibition opening in the fall at The Queen’s Gallery, Buckingham Palace, Portrait of the Artist provides a fascinating new perspective on this tradition, with lavish color illustrations of works from the fifteenth century to the present.
http://www.amazon.com/gp/product/1909741329/?tag=2022091-20
(This landmark publication celebrates one of the most exci...)
This landmark publication celebrates one of the most exciting periods in European art. It brings together 93 paintings and 85 drawings from the Royal Collection and accompanies an exhibition of international importance. The earliest paintings in the book date from the beginning of the sixteenth century and include Giovanni Bellini’s Portrait of a Young Man, Lorenzo Costa’s Portrait of a Lady with a Lapdog, and the Portrait of a Man, which has previously been attributed to Raphael. From the end of the seventeenth century is the series of twelve paintings on copper by Luca Giordano, illustrating the story of Cupid and Psyche. In between are works by Andrea del Sarto, Bronzino, Caravaggio, Correggio, Titian, Giulio Romano, Jacopa Bassano, Lorenzo Lotto, Palma Vecchio, Veronese, Parmigianino, Tintoretto, Annibale Carracci, Domenichino, Domenico Fetti, Orazio and Artemisia Gentileschi, Guido Reni, and Guercino; ranging in scale from small devotional paintings to large altarpieces, and from religious narratives to mythological subjects and portraiture. The sixteenth and seventeenth centuries also saw some of the richest and most dynamic developments in Italian drawing, and this book includes some of the finest drawings by many of the greatest artists of the period – from the achievements of the High Renaissance (including works by Leonardo, Raphael, Michelangelo, Andrea del Sarto and Parmigianino), through the later Renaissance in northern Italy (Barocci, Tintoretto, the Carracci), to the Baroque in Rome (Domenichino, Bernini, Maratti), Bologna (Reni, Guercino) and beyond. Several of the drawings are published under new attributions, and all the entries reflect recent developments in this field. Scholarly thinking on a number of the paintings is also reassessed, in some cases for the first time since John Shearman’s The Early Italian Paintings in the Collection of Her Majesty The Queen (1983) and Michael Levey’s The Later Italian Pictures in the Collection of Her Majesty The Queen (2nd edn 1991). Fresh insights are drawn from the latest research, and from recent cleaning and conservation, which has transformed critical opinion on a number of the paintings, in particular The Calling of Saints Peter and Andrew, a painting that is now firmly attributed to Caravaggio himself, rather than a follower. There are also further fascinating works by artists rarely encountered in British collections, such as Polidoro da Caravaggio, Francesco Salviati, Federico Zuccaro, Cristofano Allori and Guido Cagnacci. This landmark publication celebrates one of the most exciting periods in European art. It brings together 93 paintings and 85 drawings from the Royal Collection and accompanies an exhibition of international importance. The earliest paintings in the book date from the beginning of the sixteenth century and include Giovanni Bellini’s Portrait of a Young Man, Lorenzo Costa’s Portrait of a Lady with a Lapdog, and the Portrait of a Man, which has previously been attributed to Raphael. From the end of the seventeenth century is the series of twelve paintings on copper by Luca Giordano, illustrating the story of Cupid and Psyche. In between are works by Andrea del Sarto, Bronzino, Caravaggio, Correggio, Titian, Giulio Romano, Jacopa Bassano, Lorenzo Lotto, Palma Vecchio, Veronese, Parmigianino, Tintoretto, Annibale Carracci, Domenichino, Domenico Fetti, Orazio and Artemisia Gentileschi, Guido Reni, and Guercino; ranging in scale from small devotional paintings to large altarpieces, and from religious narratives to mythological subjects and portraiture. The sixteenth and seventeenth centuries also saw some of the richest and most dynamic developments in Italian drawing, and this book includes some of the finest drawings by many of the greatest artists of the period – from the achievements of the High Renaissance (including works by Leonardo, Raphael, Michelangelo, Andrea del Sarto and Parmigianino), through the later Renaissance in northern Italy (Barocci, Tintoretto, the Carracci), to the Baroque in Rome (Domenichino, Bernini, Maratti), Bologna (Reni, Guercino) and beyond. Several of the drawings are published under new attributions, and all the entries reflect recent developments in this field. Scholarly thinking on a number of the paintings is also reassessed, in some cases for the first time since John Shearman’s The Early Italian Paintings in the Collection of Her Majesty The Queen (1983) and Michael Levey’s The Later Italian Pictures in the Collection of Her Majesty The Queen (2nd edn 1991). Fresh insights are drawn from the latest research, and from recent cleaning and conservation, which has transformed critical opinion on a number of the paintings, in particular The Calling of Saints Peter and Andrew, a painting that is now firmly attributed to Caravaggio himself, rather than a follower. There are also further fascinating works by artists rarely encountered in British collections, such as Polidoro da Caravaggio, Francesco Salviati, Federico Zuccaro, Cristofano Allori and Guido Cagnacci. This landmark publication celebrates one of the most exciting periods in European art. It brings together 93 paintings and 85 drawings from the Royal Collection and accompanies an exhibition of international importance. The earliest paintings in the book date from the beginning of the sixteenth century and include Giovanni Bellini’s Portrait of a Young Man, Lorenzo Costa’s Portrait of a Lady with a Lapdog, and the Portrait of a Man, which has previously been attributed to Raphael. From the end of the seventeenth century is the series of twelve paintings on copper by Luca Giordano, illustrating the story of Cupid and Psyche. In between are works by Andrea del Sarto, Bronzino, Caravaggio, Correggio, Titian, Giulio Romano, Jacopa Bassano, Lorenzo Lotto, Palma Vecchio, Veronese, Parmigianino, Tintoretto, Annibale Carracci, Domenichino, Domenico Fetti, Orazio and Artemisia Gentileschi, Guido Reni, and Guercino; ranging in scale from small devotional paintings to large altarpieces, and from religious narratives to mythological subjects and portraiture. The sixteenth and seventeenth centuries also saw some of the richest and most dynamic developments in Italian drawing, and this book includes some of the finest drawings by many of the greatest artists of the period – from the achievements of the High Renaissance (including works by Leonardo, Raphael, Michelangelo, Andrea del Sarto and Parmigianino), through the later Renaissance in northern Italy (Barocci, Tintoretto, the Carracci), to the Baroque in Rome (Domenichino, Bernini, Maratti), Bologna (Reni, Guercino) and beyond. Several of the drawings are published under new attributions, and all the entries reflect recent developments in this field. Scholarly thinking on a number of the paintings is also reassessed, in some cases for the first time since John Shearman’s The Early Italian Paintings in the Collection of Her Majesty The Queen (1983) and Michael Levey’s The Later Italian Pictures in the Collection of Her Majesty The Queen (2nd edn 1991). Fresh insights are drawn from the latest research, and from recent cleaning and conservation, which has transformed critical opinion on a number of the paintings, in particular The Calling of Saints Peter and Andrew, a painting that is now firmly attributed to Caravaggio himself, rather than a follower. There are also further fascinating works by artists rarely encountered in British collections, such as Polidoro da Caravaggio, Francesco Salviati, Federico Zuccaro, Cristofano Allori and Guido Cagnacci.
http://www.amazon.com/gp/product/190216329X/?tag=2022091-20
(Hardcover Folio 1609 gravure illustrations with 12 color ...)
Hardcover Folio 1609 gravure illustrations with 12 color plates, 518 pages. This volume is the most complete and authoritative work ever produced in Italy by the Instituto Geografico De Agostini just before the war, in conjunction with the famous exhibition of Leonardo's work in Milan 1938. Recently Emil Vollmer (publisher) joined with the Instituto and re-edited the volume making entirely new illustration plates from which this edition is printed.
http://www.amazon.com/gp/product/B0000ECKB8/?tag=2022091-20
(Forty-one of da Vinci's finest anatomical drawings, chose...)
Forty-one of da Vinci's finest anatomical drawings, chosen from the collection at the Royal Library of Windsor Castle, display the Renaissance artist's drawing mastery and his insatiable curiosity about the human anatomy.
http://www.amazon.com/gp/product/0821219162/?tag=2022091-20
(This book is a catalogue of the drawings by Poussin and h...)
This book is a catalogue of the drawings by Poussin and his circle in the Royal Library at Windsor Castle - one of the world's most important holdings of drawings by Poussin, with a provenance that goes back to the collections of the artist's friends and patrons. It accompanies a traveling exhibition of sixty-five Poussin drawings that will be seen at the Museum of Fine Arts, Houston, the Cleveland Museum of Art, and the Metropolitan Museum of Art, New York, as part of the celebrations of the 400th anniversary of Poussin's birth.
http://www.amazon.com/gp/product/050023700X/?tag=2022091-20
(The images of Venice created by Canaletto (1697-1768) are...)
The images of Venice created by Canaletto (1697-1768) are among the best-loved and most fascinating of all 18th-century paintings. During his lifetime, Canaletto's paintings of the city of his birth found an immediate market amongst collectors, particularly the British nobility on the Grand Tour. In 1762 King George III acquired the world's finest group of Canaletto's works when he purchased the entire collection of Joseph Smith, the British Consul in Venice. This included an outstanding series of Canaletto's Venetian views, amongst which were his paintings of the Grand Canal, and some 140 of Canaletto's drawings. This book brings together 14 of Canaletto's dazzling paintings of the Grand Canal, and 71 of his drawings of Venice and the lagoon. It features fascinating studies of life in 18th-century Venice, from canal-side workshops to the bustling festivities of Ascension Day around St mark's Square, with the effects of sunlight, water and atmosphere exquisitely captured. The images of Venice created by Canaletto (1697-1768) are among the best-loved and most fascinating of all 18th-century paintings. During his lifetime, Canaletto's paintings of the city of his birth found an immediate market amongst collectors, particularly the British nobility on the Grand Tour. In 1762 King George III acquired the world's finest group of Canaletto's works when he purchased the entire collection of Joseph Smith, the British Consul in Venice. This included an outstanding series of Canaletto's Venetian views, amongst which were his paintings of the Grand Canal, and some 140 of Canaletto's drawings. This book brings together 14 of Canaletto's dazzling paintings of the Grand Canal, and 71 of his drawings of Venice and the lagoon. It features fascinating studies of life in 18th-century Venice, from canal-side workshops to the bustling festivities of Ascension Day around St mark's Square, with the effects of sunlight, water and atmosphere exquisitely captured.
http://www.amazon.com/gp/product/1902163818/?tag=2022091-20
Mr. Clayton was born in Harrogate, North Yorkshire, United Kingdom, on December 30, 1967. His parents were David and Brenda Clayton.
At firts, he was educated at King James's School. In 1990 Martin Clayton finished Christ’s College, Cambridge, obtaining Bachelor of Arts (with first class honors). He credits his interest in art to a school trip to the Hermitage Museum in St Petersburg where he was fascinated by the chisel marks on a sculpture there.
After graduating, Mr. Clayton began to work in the Print Room of the Royal Library, Windsor Castle, as Assistant Curator, subsequently becoming Deputy Curator, Senior Curator, and (in 2013, on the retirement of Jane Roberts) Head of Prints and Drawings. He has curated many exhibitions in the UK and internationally based on material in the royal collection and written the corresponding catalogues. He is a specialist in the drawings of Leonardo da Vinci.
Martin Clayton is the editor of the natural history volumes of the catalogue raisonné of the Paper Museum of Cassiano dal Pozzo, the major part of which is held in the Royal Library at Windsor. He also co-wrote the volume on Cassiano's Aztec Herbal with Luigi Guerrini and Alejandro de Ávila.
(This book is a catalogue of the drawings by Poussin and h...)
(Forty-one of da Vinci's finest anatomical drawings, chose...)
(From the fifteenth century onwards, as European explorers...)
(The images of Venice created by Canaletto (1697-1768) are...)
(Presents an exhibition catalog of drawings by Leonardo da...)
(Leonardo da Vinci (1452-1519) spent over twenty-five year...)
(Provides an intimate view into the creative processes of ...)
(This landmark publication celebrates one of the most exci...)
(Hardcover Folio 1609 gravure illustrations with 12 color ...)
(Leonardo da Vinci was a pioneer in the study of the human...)
(Dürer’s Self-Portrait at Age Twenty-Eight. Hockney’s Self...)