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The creation of the first Non-Objective reliefs by Vladimir Tatlin in the years 1914–1915 has remained almost legendary, as, with a few exceptions, these works have been lost or destroyed. This is the reason most of them have come down to us solely through contemporary documents. Yet when first presented in Moscow, St Petersburg (1914 and 1915), Berlin (1922) and Amsterdam (1923), they were received with curiosity, interest and, in a few instances, rejection, for they signalled a real artistic revolution. They were subsequently overshadowed by the Monument to the Third International (1919–1920), an extraordinary utopian construction that Alfred Barr described in 1936 as “the most ambitious Constructivist work” of the century and which has fascinated generations of artists on both sides of the Atlantic during much of the 20th century.

The volume, which appeared under the guest editorship of Prof. Stefania Mason and Prof. Peter Humfrey, is dedicated  to Prof. William L. Barcham on his 80^th birthday.

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Contents

• Introduction (pp. 9–10)
• William L. Barcham – List of Publications (pp. 11–12)
• FULVIO ZULIANI – Strategie narrative e spaziali nelle Storie di Sant’Orsola di Tomaso da Modena a Treviso (pp. 13–23)
• HELENA KATALIN SZÉPE and FEDERICA TONIOLO – Celebrating Athanasius in Venice. Illuminated Manuscripts for the Nuns of Santa Croce alla Giudecca (pp. 25–48)
• TIZIANA FRANCO – Testimonianze artistiche di contesti monastici femminili a Verona (XIV–XV secolo) (pp. 49–61)
• DEBORAH HOWARD – Venetian Galleys as Domestic and Ritual Space (pp. 63–78)
• CATHERINE WHISTLER – Invention and Devotion in Giovanni Bellini’s Uffizi Lamentation (pp. 79–98)
• MAURO LUCCO – Pietro da Vicenza, non Pasqualino. Ma quale Pietro? (pp. 99–113)
• BEVERLY LOUISE BROWN – Sculpted in My Heart: Titian and the Secrets of La Schiavona (pp. 115–136)
• PETER HUMFREY – More on Dosso’s Aeneas Frieze (pp. 137–156)
• MICHEL HOCHMANN – À propos d’un album de photographies méconnu : Simone Bianco et Tiziano Aspetti au palais Grimani de Santa Maria Formosa (pp. 157–172)
• PHILIP SOHM – Venetian Finger Painting after Titian (pp. 173–194)
• STÉPHANE LOIRE – Les tableaux de Véronèse dans l’Inventaire Napoléon (1810) (pp. 195–222)

The volume, which appeared under the guest editorship of Prof. Peter Humfrey, is dedicated  to Prof. Mauro Lucco on his 70^th birthday.

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Contents

• PETER HUMFREY – Introduction
• WILLIAM L. BARCHAM – Jacopo da Montagnana, the ‘Man of Sorrows’ and the Bellini
• ANCHISE TEMPESTINI – La famiglia dei pittori Bellini. Precisazioni e novità
• CARLO CORSATO – Giovanni Bellini’s Saint Catherine of Siena and Saint Thomas Aquinas Altarpiece: Primary Sources, Perspective and Visual Philology
• PAOLA BENUSSI and PETER HUMFREY – The Altarpieces by Giovanni Bellini and Alvise Vivarini from San Cristoforo della Pace and their Patrons
• MASSIMO FERRETTI – Accertamento su Benedetto Diana
• ANDREA BAYER – Francesco Francia’s Portrait of Federico Gonzaga and the Letters that Surround It
• DAVID ALAN BROWN – Solario Revisited
• VILMOS TÁTRAI – Una questione di leonardismo: la versione di Budapest della Madonna con i Bambini che giocano

A monograph on the Polish painter Jerzy Tchórzewski (1928–1999) appears to mark the twentieth anniversary of the painter’s death. The two-volume work, entitled “Cierpienie formy. Jerzy Tchórzewski. Malarstwo” (The Suffering of Form. Jerzy Tchórzewski. Painting), includes a number of essays and a catalogue of the artist’s oeuvre. It was edited by Krystyna Czerni and Józef Grabski.

The first volume, “Teksty” (Texts) attempts to analyse and interpret Tchórzewski’s artistic output. The richly illustrated essays, mostly written especially for this volume, are accompanied by a chronology and a complete bibliography of the subject.

In the second volume, “Katalog” (Catalogue) the reader will find several hundred full-page colour reproductions, some of which appear for the first time, and the Catalogue raisonné based on an extensive survey.