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The Antonio II Badile Album of Drawings: The Origins of Collecting Drawings in Early Modern Northern Italy book cover

1st Edition

The Antonio II Badile Album of Drawings: The Origins of Collecting Drawings in Early Modern Northern Italy

By Evelyn Karet Copyright 2014
360 Pages
by Routledge

360 Pages
by Routledge

Evelyn Karet's in-depth study of the Antonio II Badile Album - the earliest known example of an art collection pasted onto the pages of a book - is both focused and broad in its appeal to those interested in the early modern era. The provenance of the album is traced from its assemblage to the seventeenth-century collection of Conte Lodovico Moscardo to its dismantling by the dealer Francis... Read more
Contents: The Antonio II Badile album of drawings, Evelyn Karet and Peter Windows; Workshops and patrons: a sketch for the milieu of Antonio II Badile, Alessandra Zamperini; The extant drawings of the Antonio II Badile album, Evelyn Karet; The origins of northern Italian collecting: humanist collections, Evelyn Karet; The history of collecting drawings in northern Italy: the first collectors and their collections, Evelyn Karet; A context for the Antonio II Badile album, Evelyn Karet; Appendix 1, James M. Karet and Evelyn Karet; Appendix 2, Evelyn Karet and Peter Windows; Appendix 3, Evelyn Karet; Bibliography; Index.

Biography

Evelyn Karet holds a Ph.D. from Columbia University and is a Scholar in Residence in the Department of Visual and Performing Arts at Clark University, USA where she was previously Associate Professor and taught Renaissance Art History. A scholar of late Gothic and Renaissance art, she has also taught at Boston College, Wheaton College, and the University of Georgia Studies Abroad Program in Italy.

'... this is an exceptionally interesting and meticulous book, whose supreme merit is to cast light on a hitherto distinctly overlooked but utterly absorbing corner of the admittedly seemingly endless artistic landscape of the Italian Renaissance.' Art Newspaper

'The major importance of the album undoubtedly lies not so much in the drawings themselves, as in the contribution that they make to our knowledge and understanding of the history of collecting. Karet devotes three chapters of her book to this issue, and while much that she writes offers a summation of a known history, she also makes some interesting and valuable new contributions to this history.' Renaissance Quarterly

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