Maria in der Florentiner Kunst.

Firenze, Polistampa 2016, cm.13,5x21, pp.136, ill.col. br.cop.fig.a col. Il Museo dell'Opera del Duomo, creato nel 1891, poi riccamente ampliato e rinnovato tra il 2012 e il 2015, possiede la più importante collezione al mondo di scultura fiorentina del Medioevo e del Rinascimento. Tra i capolavori lì custoditi si ricordano la Porta del Paradiso e la Porta Nord' del Battistero, realizzate da Lorenzo Ghiberti, la Santa Maria Maddalena penitente di Donatello, la Cantoria di Luca della Robbia, la monumentale Croce d'Argento di Antonio Pollaiolo e i preziosi ricami da lui disegnati per i paramenti della festa del patrono di Firenze, san Giovanni Battista. La guida, agile e riccamente illustrata, è arricchita dalle planimetrie delle diverse sezioni del museo e da una bibliografia di riferimento.

A cura di T.Verdon. Firenze, Centro Di, 1996, cm.17x24, pp.135, num.ill.bn.nt. br.con bandelle, cop.fig. Coll.diretta da M.Fossi Todorow.

Guida alla lettura delle opere. Con illustrazione del patrimonio artistico delle chiese cittadinie. Presentazione di Timothy Verdon. Studio mix Corboli 2005, cm.24x28,5, pp.126 ill.a colori. brossura copertina figurata a colori.

Firenze, Mandragora 2002, cm.14x21, pp.117, num.ill.a col.nt. br.cop.fig. Florentine artists have represented Mary in every moment and event of her life: historical, meta-historical and legendary. Yet they have never been mere Madonnari / Madonna painters repeating conventional images, promoting traditional piety. In their hands, the typical subjects of Marian iconography have dilated, becoming occasions of profound, often mystical reflection. The painters and sculptors of Florence have presented God s mother as the 'all holy', but also as a human being and above all as a woman. This small book seeks to suggest, through specific examples, the depth and originality of their approach. It neither discusses every master and masterpiece (an impossible task), nor illustrates every Marian theme. It narrates and, in so doing, relates significant episodes in a process of research that has evolved across a thousand years: a process which in Mary painted and carved has shown Florence and the world the beauty of Christian faith and life. The book illustrates, among others, works by Giotto, Bernardo Daddi, Masaccio, Donatello, Fra Angelico, Filippo Lippi, Ghirlandaio, Botticelli, Filippino Lippi, Leonardo, Michelangelo, Andrea del Sarto and Pontormo. Timothy Verdon, born in New Jersey nel 1946, is an art historian trained at Yale University. In Italy since the 1960s, Verdon is a priest of the Archdiocese of Florence, where he directs the Office for Catechesis Through Art. Organiser of international meetings on themes related to religious art, he is author of books and articles in English and Italian, including L arte sacra in Italia. L immaginazione religiosa dal paleocristiano al postmoderno (Milan: Mondadori, 2001). He is a Canon of the Cathedral, a member of the Board of Administrators of the Cathedral Foundation, a Fellow of the Harvard University Centre for Italian Renaissance Studies (Villa I Tatti), and gives courses for Stanford University and the Central Italian Theology School. 67 colour illustrations