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Free Ebook The Visconti Hours
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The Visconti Hours
Free Ebook The Visconti Hours
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Product details
Hardcover
Publisher: George Braziller (August 1, 1994)
Language: English
ISBN-10: 0807613592
ISBN-13: 978-0807613597
Product Dimensions:
7.8 x 1 x 10.5 inches
Shipping Weight: 2.8 pounds
Average Customer Review:
3.7 out of 5 stars
5 customer reviews
Amazon Best Sellers Rank:
#1,477,761 in Books (See Top 100 in Books)
beautiful book but I wanted a "pocket" size and one that I could actually use, so did not meet my expectations..
The first time I spied the Visconti Hours, my heart skipped a beat, and my breath was caught in my throat at the sheer splendor of the art - brilliant, burnished gold glimmering like the sun's last light on a long summer's day, swirling leaves and delicately blossoming flowers, carefully painted scenes full of emotion and grace, and this haunting feeling of stepping upon something rare, precious, mysterious even. Of all the Books of Hours I have collected, the Visconti Hours is one of my favorites, even though I love them all for their stunning artwork and the different 'personalities' they develop from the various masters who painted them. You can spend literally hours languishing over one page by itself, each one is so individually stunning.It is quite apparent that two different artists painted this work - the beginning of the book has a completely different style compared to the later parts. The first artist, Giovannino dei Grassi, had a more delicate style compared to the more excessive, eclectic brilliance of Belbello da Pavia, however, I cannot say that I prefer either artist over the other - both did exceptional jobs in creating a masterpiece of a book, and somehow, da Pavia's love of electric magenta and a sunlit emerald green with towering turrets and lots, and I mean LOTS, of gold leaf fits in so well with dei Grassi's more sensual, muted colors, the ink so softly and sweetly painted it almost looks like semi-transparent watercolors. Once you open this book, it's like stepping into a completely different world. The painted borders seem like living trees, swirling and growing around the pages, flowers and leaves budding and bursting with color and vitality. For a moment, it doesn't even feel like a typical Book of Hours - this could easily become some lost treasure from a distant dream, a place much, much far away from our own. It can even be said that the artists took much, much greater care in creating a sense of giving life to God's words instead of just satisfying those who commissioned these lavish little jewels - it's not something that's easily described in words, but, this is one of the few Books of Hours who not only make the words of the Bible as beautiful as they are, but they are filled with the same breath of life, of inspiration, that the scripture have themselves. It's truly something to be experienced by yourself, and I highly recommend this book - it's nothing short of spectacular!
The Visconti Hours is easily the most richly decorated and most eye-popping manuscript that I have ever seen. As a chapter in art history, it is unique as well. The Visconti family had strong connections with the French court, and that definitely shows itself in the art here, especially in the "gold maple" design of 79 verso and 80 recto, for example. It is also among the most unique in terms of pallete - neon greens and magentas next to deep blues and shining gold on some pages, or various pastel pinks and blues with a unique form of reddish gold on others. Two artists contributed to complete this manuscript, and unlike most other manuscripts, it is extremely easy to tell their two styles apart here; the artists made little attempt at stylistic continuity. Dei Grassi, the earlier of the two artists, can be identified by his less crowded compositions, use of pastel colors, more naturalistic figures, and a somewhat "dirtier" style. The later Belbello, on the other hand, had immaculate brushwork, enjoyed a rather bright (possibly jarring) pallete, employed tapestry-like densely decorated borders, and painted rather artificial, oddly cheeky figures (especially the women). The miniatures are gorgeous, but for me the main point of interest was in the borders and illuminated initials. Gem-like stylized leaves, ribbons, clouds, sloping hills, and gothic architectural elements make up some unusually creative designs. Most of the prayers begin with D, so you will find more ways to draw and paint a simple D than you have ever seen before (perhaps even if you are familiar with medieval art - there is more emphasis than usual on the initials here, considering the period). Interesting also is the stylistic continuity between the scene depicted inside the initial and the border designs. For example, one page showing the creation of birds in the Genesis (leaf 41) shows a veritable Noah's ark of birds - egrets (?), hawks, a peacock... - perched in the lower border.The facsimile is fabulous in my opinion. As noted by others, the gold ink they use isn't quite like the original gold leaf and gold emulsion. It tends to have a flattening effect. But trust me, it is better than no gold at all - in that case, gold is replaced by dull browns that really just dull the entire composition. The recent Tres Riches Heures facsimile is testament to that. The best option would be to see the actual manuscript, since reproductions never do the original justice, but in lieu of that this is a more than satisfactory facsimile.I just wanted to address/correct another review on here. Indeed many of the borders are slightly cut off, but that probably is *not* just the facsimile. As mentioned in the text (I forget where), overzealous cutting of pages during 19th century rebinding has resulted in some loss of whitespace and cutting off of the designs. It's really unfortunate, but it has happened to many manuscripts. Apparently 19th century connoisseurs preferred to sacrifice the composition of the borders in order to have clean page edges.
The Visconti Hours dates was painted in Italy for the Visconti family of Florence in the early 1400's. This book reproduces the illuminated carpet pages from this manuscript along with an introduction to the history of the book and commenty on individual plates. The plates themselves are very colourful and striking filled with vivid pinks, purples and greens. There were two main artists who produced this book and their work is quite distinctive giving the second half of the book quite a different flavour from the first half.My main complaints about this reproduction is that the gold ink that has been used to recreate the effect of gold leaf in the original book has somewhat obscured some of the detail in the facsimile plates, and that some of the edges of the pages appear to have been chopped off to forced into the current book size which gives the impression of the illuminations spilling off the page or amputated in some cases.However, these quibbles aside, this is a striking manuscript, well worthy of reproduction and every time you look at you are astonished at the brightness of the plates and the colours the artists selected. They are very different from the books produced in France and England during the same period. This book, in hardback, with a slipcase, is recommended to anybody who enjoys the striking beauty of medieval illuminated manuscripts.
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