Sprinkling this selected survey with enjoyable anecdotes and historical details, Campbell describes and categorizes portrait painting of the Renaissance, illustrated in 140 black-and-white and 80 color reproductions of good quality featuring such artists as Durer, Holbein, Van Eyck, Raphael, and Titian. In the final chapter, he advocates the supremacy of ``Northern'' as opposed to Italian Renaissance portraiture because its influences can be seen in the Italians, but he is not convincing. His argument excludes any mention of Alberti, Masaccio, and scores of other artists whose works represent the pursuit of ideal beauty, as important to the Italians as the depiction of the individual, and specifically omits the exquisite devotional paintings of the early Renaissance, which contain many Italian portraits. All told, however, the book presents some valuable material by a knowledgeable source for people studying portrait painting. Recommended for special collections.-- Ellen Bates, New York (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
CHOICE Review
Our own age rivals the Renaissance in the pursuit of the constructed self, which may be one of the reasons why portraiture has become a hot topic of scholarly inquiry. This overview--dealing with material from the 14th into the late 16th century, with the emphasis on the early part of the 16th--breaks no new ground. It has the merit, however, of placing virtually equal emphasis on Italian and Northern European examples, with serious consideration of Spanish examples as well, thereby providing a suggestive compendium. Long and informative captions are appended to the illustrations, the great majority of which are in excellent color. Campbell pursues the not very original theme of idealization versus nonidealization in the portrait, but along the way throws out many useful observations. The investigation is primarily formal ("Portrait Types," "Poses"). Juicy iconographical problems are alluded to and quickly abandoned. The short concluding chapter, "Functions and Uses of Portraiture," is a disappointment and merely whets the appetite for a really incisive discussion of this topic. A serviceable addition to the subject, but in no way a replacement for John Pope-Hennessy's classic treatment, The Portrait in the Renaissance (CH, Sep'67). -D. Pincus, University of British Columbia
Booklist Review
A full picture of the development of Renaissance portrait painting in its artistic, technical, and social aspects. The individualization of character that these portraits represents is investigated in all of its impact on both artists and patrons. Stylistic differences between northern Germany and southern European portraiture are also studied, but Campbell's interest goes beyond aesthetic matters in his queries as to why these pictures were created and what purposes they served for the sitter and the artist. Excellent illustrations underline the many interesting and original points made in the text, which sheds new light on some of the most familiar images in art history. Notes, references; index. --John Brosnahan
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BookPublisher: New Haven, CT ; London : Yale University Press, 1990Description: 290 p. : ill(some col.) ; 28 cm. + hbk.ISBN: 0300046758 .Subject(s): Portrait painting, Renaissance