Andrew Butterfield Bibliography As of October 2019

BOOKS AND CATALOGUES

Verrocchio, Sculptor and Painter of Renaissance Florence, editor, exhibition catalogue, Princeton, 2019.

Pietro and Gian Lorenzo Bernini: Bust of the Savior, editor, exhibition catalogue, New York, 2016.

Donatello in Motion, A Spiritello Rediscovered, editor, exhibition catalogue, New York, 2015.

“One of the Most Beautiful Things”: A Rediscovered Masterpiece by Antonio Corradini, editor, exhibition catalogue, New York, 2013.

Body and Soul: Masterpieces of Italian Renaissance and Baroque Sculpture, exhibition catalogue, New York, 2010.

Titian and the Golden Age of Venetian Painting, co-authored with Michael Clark and Edgar Peters Bowron, exhibition catalogue, The High Museum of Art, the Minneapolis Institute of Arts, and the Museum of Fine Arts, Houston, 2010-2011.

Andrea del Verrocchio: The Head of a Gorgon, Sotheby’s, London and New York, 2008.

Bernini: The Last Portrait Bust, exhibition catalogue, New York, 2004.

Italian Renaissance Sculpture, exhibition catalogue, New York, 2004.

Bernini: The Modello for the Fountain of the Moor, exhibition catalogue, New York, 2002.

Italian Sculpture from the Gothic to the Baroque, co-authored with Anthony Radcliffe, exhibition catalogue, New York, 2002.

Vittoria and Tiepolo: The Giulio Contarini Bust and the Drawings It Inspired, exhibition catalogue, New York, 2001.

Masterpieces of Renaissance Art, Eight Rediscoveries, co-authored with Anthony Radcliffe, exhibition catalogue, New York, 2001.

Early Renaissance Reliefs, exhibition catalogue, New York, 2001.

Masterpieces of Renaissance Sculpture, exhibition catalogue, New York, 1999.

The Jacques Koerfer Collection, Christie's International Media, New York and London, 1999.

1 The Sculptures of Andrea del Verrocchio, Yale University Press, New Haven and London, 1997.

The Collection of Victor and Sally Ganz, Christie’s, New York, November 10, 1997 (editor, principal author, and chief designer).

ARTICLES, ESSAYS AND CATALOGUE ENTRIES

“Andrea del Verrocchio: Artist of Wondrous Skill,” in Andrew Butterfield, ed., Verrocchio, Sculptor and Painter of Renaissance Florence, National Gallery of Art, 2019, pp. 1-29.

“Divine Lust,” The New York Review of Books, January 18, 2018, pp. 27-28., http://www.nybooks.com/articles/2018/01/18/michelangelo-divine-lust/.

“Forged in the Florentine Furnace: Rediscovering a Renaissance sculptor who’s art most resembled Dante’s,” review of Il Paradiso Ritrovato by Annamaria Giusti and Lorenzo Ghiberti’s Gates of Paradise by Amy R. Bloch, Times Literary Supplement, December 15, 2017, p. 32.

“Review: The Secret to ‘Seeing Slowly’,” The Wall Street Journal, November 18-19, 2017, C9.

“Raphael Up Close,” The New York Review Daily, July 15, 2017, http://www.nybooks.com/daily/2017/07/15/raphael-up-close/.

“Christ Crucified,” in Judith W. Mann and Elizabeth Wyckoff, ed., Learning to See: Renaissance and Baroque Masterworks from the Phoebe Dent Weil and Mark S. Weil Collection, Saint Louis Art Museum, 2017, pp. 218-220.

“The First Cosmopolitans: The preoccupations of Hellenistic civilizations, as reflected in their art,” review of Pergamon and the Hellenistic Kingdoms of the Ancient World, Times Literary Supplement, June 3, 2016, pp. 19-20.

“Botticelli: Love, Wisdom, Terror,” The New York Review of Books, May 26, 2016, pp. 16-18, http://www.nybooks.com/articles/2016/05/26/botticelli-love-wisdom-terror/.

“Statues of Wrath and Serenity,” The New York Review Daily, February 20, 2016, http://www.nybooks.com/daily/2016/02/20/wrathful-serene-kamakura/.

“Disparate States of Being,” review of Picasso Sculpture, Times Literary Supplement, October 16, 2015, p. 17.

“The Magic of Donatello,” The New York Review of Books, April 23, 2015, pp. 12-14, http://www.nybooks.com/articles/archives/2015/apr/23/magic-donatello/. Also published as “He Brought Stone to Life,” The New York Review Daily, March 4, 2015, http://www.nybooks.com/blogs/gallery/2015/mar/04/donatello-brought-stone-life/.

Review of Donatello, Michelangelo, Cellini: Sculptors’ Drawings from Renaissance Italy in The Burlington Magazine, 157, February 2015, pp. 127-29.

2 “Max Seidel, Father and Son: Nicola and Giovanni Pisano,” Sculpture Journal, Volume 23, Issue 3, 2014, pp. 404-406.

"Rembrandt in the Depths," The New York Review Daily, November 7, 2014, http://www.nybooks.com/blogs/nyrblog/2014/nov/07/rembrandt-late-works/.

“Prodigious Veronese,” The New York Review of Books, June 19, 2014, pp. 4-6, http://www.nybooks.com/articles/archives/2014/jun/19/prodigious-veronese/. Also published as “Majesty, Vehemence, Splendor,” The New York Review Daily, May 17, 2014, http://www.nybooks.com/blogs/nyrblog/2014/may/17/veronese-majesty-vehemence-splendor/.

“The Serene Beauty of Canova,” The New York Review Daily, February 11, 2014, http://www.nybooks.com/blogs/gallery/2014/feb/11/serene-beauty-canova/.

“Trapped in Vienna,” The New York Review Daily, December 6, 2013, http://www.nybooks.com/blogs/nyrblog/2013/dec/06/trapped-vienna-1900-portraits/.

“Sad and Supreme,” The New York Review of Books, June 10, 2013, pp. 18-20, http://www.nybooks.com/articles/archives/2013/jun/20/albrecht-durer-sad-and-supreme/. Also published as “Durer’s Devil Within,” The New York Review Daily, May 20, 2013, http://www.nybooks.com/blogs/nyrblog/2013/may/20/durer-devil-within/.

“The Rebirth of the Sculpted Portrait in 15th-Century Florence,” in Beatrice Paolozzi Strozzi and Marc Bormand, (ed.), The Springtime of the Renaissance: Sculpture and the Arts in Florence, 1400-60, catalogue of an exhibition held at the Palazzo Strozzi, Florence, and Musée du Louvre, Paris, 2013-14, pp. 212-221.

“The Triumph of Bronze,” The New York Review of Books, December 20, 2012, pp. 20-24, http://www.nybooks.com/articles/archives/2012/dec/20/triumph-bronze/.

“Recasting the Ancients,” The New York Review Daily, July 25, 2012, http://www.nybooks.com/blogs/nyrblog/2012/jul/25/antico-recasting-ancients/.

“They Clamor for Our Attention,” The New York Review of Books, March 8, 2012, pp. 10-12, http://www.nybooks.com/articles/archives/2012/mar/08/they-clamor-our-attention- renaissance-portrait/.

“What Remains,” The New Republic, August 18, 2011, pp. 26-31, http://www.newrepublic.com/article/books-and-arts/magazine/92804/medieval-christian-art- relics.

“Gossart: The Glow of Inspiration,” The New York Review of Books, March 10, 2011, pp. 19-20, http://www.nybooks.com/articles/archives/2011/mar/10/gossart-glow-inspiration/. Also published, “The Unexpected Pleasures of Jan Gossart,” The New York Review Daily, January 8, 2011, http://www.nybooks.com/blogs/nyrblog/2011/jan/08/unexpected-pleasures-jan- gossart/.

“Titian and the Rebirth of Tragedy,” The New York Review of Books, December 23, 2010, pp. 16-22,

3 http://www.nybooks.com/articles/archives/2010/dec/23/titian-and-rebirth-tragedy/.

“A ‘Virgin and Child’ attributed to Andrea Sansovino,” The Burlington Magazine 152, November 2010, pp. 723-726.

“The Fierce Emotions of Siena,” The New York Review of Books, October 14, 2010, pp. 38-40, http://www.nybooks.com/articles/archives/2010/oct/14/fierce-emotions-siena/.

Review of Leonardo and Sculpture, in The Burlington Magazine 152, August 2010, pp. 570-571.

“A Responding Sensibility,” [on Meyer Schapiro], The New Republic, March 3, 2010, pp. 31-36, http://www.newrepublic.com/article/books-and-arts/responding-sensibility.

Review of Linda Pisani, Francesco di Simone. Itinerari di uno scultore fiorentino fra Toscana, Romagna e Montefeltro, Florence, 2007, in The Burlington Magazine 151, November 2009, p. 772.

“Tiziano, Tintoretto e Veronese,” Rivista dei Libri, October, 2009, pp. 4-7 [Translated reprint of “Venice: The Masters in Boston” The New York Review of Books, July 16, 2009, pp. 12-13. See below.].

“Venice: The Masters in Boston,” The New York Review of Books, July 16, 2009, pp. 12-13, http://www.nybooks.com/articles/archives/2009/jul/16/venice-the-masters-in-boston/.

“Sacred furor: Riccio & antiquity,” The New Criterion, March 2009, pp. 15-19.

“Alla scoperta dei Maestri,” Rivista dei Libri, March 3, 2009, pp. 4-8 [Translated reprint of “Sacred, Earthy & Sublime,” The New York Review of Books, January 15, 2009, pp. 14-18. See below.].

“Sacred, Earthy & Sublime,” [on Andrea Mantegna and Giovanni Bellini], The New York Review of Books, January 15, 2009, pp. 14-18, http://www.nybooks.com/articles/archives/2009/jan/15/sacred-earthy-sublime/.

“The Genius of George Inness,” The New York Review of Books, September 15, 2008, pp. 8-10, http://www.nybooks.com/articles/archives/2008/sep/25/the-genius-of-george-inness/.

“La pittura magica di Poussin,” Rivista dei Libri, May, 2008 [Translated reprint of “The Magical Painting of Poussin,” The New York Review of Books, April 17, 2008, pp. 18-22. See below.].

“The Magical Painting of Poussin,” The New York Review of Books, April 17, 2008, pp. 18-22, http://www.nybooks.com/articles/archives/2008/apr/17/the-magical-painting-of-poussin/.

“Recreating Picasso,” The New York Review of Books, December 20, 2007, pp. 12-16, http://www.nybooks.com/articles/archives/2007/dec/20/recreating-picasso/.

“The Laughing Boy and the Invention of Sculpture,” [on Desiderio da Settignano and Florentine sculpture], The New Republic, September 24, 2007, pp. 36-41.

“Art and Innovation in Ghiberti’s Gates of Paradise,” in Gary Radke, (ed.), The Gates of Paradise,

4 catalogue of an exhibition at The High Museum, Atlanta, The Art Institute of Chicago, and The Metropolitan Museum of Art, 2007, pp. 16-41.

“Brush with Genius,” [on Tintoretto], The New York Review of Books, April 26, 2007, pp. 10-14, http://www.nybooks.com/articles/archives/2007/apr/26/brush-with-genius/.

Review of Dario Covi, Andrea del Verrocchio. Life and Work, Florence, 2005, in The Burlington Magazine, 149, January 2007, p. 44.

“Le vette del piacere,” [translated reprint of “The Heights of Pleasure,” see below], La Rivista dei Libri, November 2006, pp. 6-9.

“The Heights of Pleasure,” [on Giambologna], The New York Review of Books, September 21, 2006, pp. 47-49, http://www.nybooks.com/articles/archives/2006/sep/21/the-heights-of-pleasure/.

“The Pious Revolutionary,” [on Fra Angelico], The New York Review of Books, January 12, 2006, pp. 10-13, http://www.nybooks.com/articles/archives/2006/jan/12/the-pious-revolutionary/.

“‘Equal to the Ancients’: Florentine Sculpture in the First Half of the Sixteenth Century,” in Leonardo da Vinci, Michelangelo and the Renaissance in Florence, catalogue of an exhibition at the National Gallery of Canada, Ottawa, 2005, pp. 46-59.

“Luca della Robbia the Younger (1475-1548), Adoring Angel,” in Leonardo da Vinci, Michelangelo and the Renaissance in Florence, catalogue of an exhibition at the National Gallery of Canada, Ottawa, 2005, pp. 78-79.

“The Homer of Painting,” [on Rubens], The New York Review of Books, April 7, 2005, pp. 14-18, http://www.nybooks.com/articles/archives/2005/apr/07/the-homer-of-painting/.

“The Visionary,” [on Parmigianino], The New York Review of Books, April 8, 2004, pp. 18-22, http://www.nybooks.com/articles/archives/2004/apr/08/the-visionary/.

“Giammaria Mosca (?), Didone,” in Matteo Ceriana (ed.), Il Camerino di alabastro. Antonio Lombardo e la scultura all’antica, catalogue of an exhibition held at Castello di Ferrara, 14 March – 13 June 2004, Milan, 2004, pp. 268-272.

“Andrea del Verrocchio, Nude Male, called ‘Il Pugilatore,” and “Andrea del Verrocchio, Executioner (1478),” in Mina Gregori (ed.), In the Light of Apollo: Italian Renaissance and Greece, catalogue of an exhibition held at National Gallery – Alexandros Soutzos Museum, Athens, 22 December 2003 – 31 March, 2004, Milan 2004, pp. 219-220.

“Capturing Character,” [on Houdon], The New York Review of Books, July 17, 2003, pp. 7-10, http://www.nybooks.com/articles/archives/2003/jul/17/capturing-character/.

“Leonardo da Vinci: Master draftsman,” [review of the exhibition, Leonardo da Vinci: Master Draftsman, held at The Metropolitan Museum of Art, January to March 2003}, Apollo 158, July 2003, pp. 50-51.

5 “Verrocchio's Christ and Saint Thomas: chronology, iconography and political context,” in Michael Levey, ed., The Burlington Magazine, A Centenary Anthology, New Haven and London, 2003, pp. 165-172 [reprint of article, see below].

“Monuments and Memories,” The New Republic, February 3, 2003, pp. 27-32.

“Leo’s Last Supper: An Exchange with Leo Steinberg and Helen Vendler,” The New York Review of Books, November 7, 2002, p. 68-69. http://www.nybooks.com/articles/archives/2002/nov/07/leos-last-supper/.

“Leo’s Last Supper,” [on Leonardo da Vinci, the Last Supper, and Leo Steinberg], The New York Review of Books, July 18, 2002, pp. 14-17, http://www.nybooks.com/articles/archives/2002/jul/18/leos-last-supper/.

Letter, The New York Review of Books, October 18, 2001, p. 70, http://www.nybooks.com/articles/archives/2001/oct/18/correction/.

"Padova capitale del bronzetto," [translated reprint of "Bronze Beauties," see below], La Rivista dei Libri, October 2001, pp. 16-19.

"Contrast of Forms," in Michael Steiner, Sculpture 1999-2001, catalogue of an exhibition at Salander- O'Reilly Galleries, New York, October 2001, unpaginated.

"Bronze Beauties" [on Donatello and bronze sculpture in Padua], The New York Review of Books, July 19, 2001, pp. 9-11, http://www.nybooks.com/articles/archives/2001/jul/19/bronze- beauties/.

"Leonardo: Draughtsman of Genius," in Leonardo da Vinci Horse and Rider. Property of J. Carter Brown from the Collection of John Nicholas Brown, Christie's, London, July 10, 2001, pp. 14-16.

Reprint of the above: "Leonardo: Draughtsman of Genius," in Important Old Master Drawings, Christie's, London, July 10, 2001, pp. 48-50.

Reprint of the above: "Leonardo: Draughtsman of Genius," in Important Old Master Pictures, Christie's, London, July 11, 2001, pp. 16-18.

"Prince of the City" [on Cosimo de' Medici], The New Republic, June 11, 2001, pp. 42-47.

“Verrocchio and the Bronze Statuette,” in Debra Pincus (ed.), Small Bronzes in the Renaissance, National Gallery of Art, Washington, D.C., 2001, pp. 70-81.

"Leonardo da Vinci, Magic Movement," Christie's Magazine, June/July/August 2001, pp 26-29.

"The Art of the Fugue: Recent Sculptures by Jedd Novatt," in Jedd Novatt: Sculpture, catalogue of an exhibition at Salander- O'Reilly Galleries, New York, May 2001, unpaginated.

Review of Jill Dunkerton, Susan Foister and Nicholas Penny, Dürer to Veronese, New Haven and London, 1999, in ARTnews, June 2000, p. 108.

6 “Renaissance Florence in the 1470s” [review of Renaissance Florence, The Art of the 1470s, exhibition at the National Gallery, London], in Apollo 151, March 2000, pp. 59-60.

“Monument and Memory in Early Renaissance Florence,” in Giovanni Ciappelli and Patricia Rubin, eds., Art, Memory and Family in Renaissance Florence, Cambridge University Press, Cambridge and New York, 2000, pp. 135-160.

“Brushes with Death” [on Caravaggio], The New Republic, January 17, 2000, pp. 25-33.

“Desiderio da Settignano’s Tabernacle of the Sacrament,” co-authored with Caroline Elam, with a contribution by Victor Coonin, Mitteilungen des Kunsthistorischen Institutes in Florenz 43, 1999, pp. 333-357.

“Marie-Thérèse: Muse and Mistress,” Christie's Magazine, Special Edition: Property from the Estate of Madeleine Haas Russell, November 1999, pp. 4-5.

Review of Anne Markham Schulz, Gianmaria Mosca, called Padovano, A Renaissance Sculptor in Italy and Poland, 2 vols., State Park, Pennsylvania, 1998, in Apollo 150, September 1999, pp. 59-60.

“The Breakthrough” [on Leonardo], The New Republic, July 5, 1999, pp. 41-45.

“A documented episode in the history of renaissance ‘terracruda’ sculpture,” co-authored with David Franklin, The Burlington Magazine 140, 1998, pp. 819-824.

Seven catalogue entries, on Renaissance and Baroque sculptures, paintings and drawings, including works by Filipino Lippi, Annibale Caracci, Francesco Mola, Guercino, Apollonio di Giovanni and others, in Allen Memorial Art Museum, Oberlin College, Masterworks for Learning: A College Collection Catalogue (CD-Rom), Oberlin, 1998.

“Powers of Art” and “Vincent van Gogh, Portrait de l’artiste sans barbe” in Important Paintings and Sculpture from a European Estate, Christie’s, New York, November 19, 1998, pp. 12-13, and pp. 38- 43.

“Domenikos Theotokopoulos, El Greco: A Boy lighting a Candle,” Important Old Master Paintings, Christie’s New York, January 29, 1998, lot 121, pp. 174-178.

“A glazed terracotta relief of Santa Brigida, Attributed to Andrea della Robbia,” Important European Works of Art, Furniture and Tapestries, Christie’s New York, January 28, 1998, lot 104, pp. 72-73.

“Story’s Jerusalem in her Desolation,” Christie’s International Magazine, January/February 1998, p. 22.

Review of Charles Avery, Bernini: Genius of the Baroque, London, 1997, in The Times Higher Education Supplement, December 5, 1997, p. 29.

“Gerhard Richter: Wolken (Fenster),” Contemporary Art (Part I), Christie’s, New York, November 18, 1997, lot 126, pp. 64-65.

7 “Visions of Modernism,” Christie’s International Magazine, May 1997, pp. 30-35.

“A Gilt-Bronze Statuette of a Horse, Florentine, Early 16th Century,” European Works of Art, Furniture and Tapestries, Christie’s, New York, January 29, 1997, lot 64, pp. 44-45.

“A Gilt-Bronze Horse from Renaissance Florence,” Christie’s International Magazine, January/February 1997, pp. 28-29.

“Vincent van Gogh’s ‘Intérieur d’un restaurant’,” in Christie’s Review of the Year 1996, London, 1996, pp. 74-75.

“Monet and Picasso: Great Masterpieces from the Engelhard Collection,” Christie’s International Magazine, November 1996, pp. 24-27.

“Pierre-Jean David d'Angers: A Monumental Marble Bust of Alexander von Humboldt,” Nineteenth-Century European Paintings and Sculpture, including Master Drawings, Christie's, New York, May 22, 1996, lot 76, pp. 86-87.

“Vincent van Gogh: Intérieur d'un restaurant,” Impressionist and Modern Paintings, Drawings and Sculpture (Part I), Christie's, New York, April 30, 1996, lot 31, pp. 80-85.

“Paul Gauguin: Nature morte à ‘L‘Espérance’,” Important Impressionist and Modern Paintings and Sculpture from the Collection of the Late Joanne Toor Cummings, Christie's, New York, April 30, 1996, lot 21, pp. 26-31.

“The Candelabrum by Andrea del Verrocchio,” Bulletin van het Rijksmuseum 44, 1996, pp. 120-122.

“Il monumento Forteguerri di Andrea del Verrocchio,” in Franca Falletti, ed., I Medici, il Verrocchio e Pistoia, Livorno, 1996, pp. 18-25.

“The Funerary Monument of Cosimo de' Medici, Pater Patriae,” in Francis Ames-Lewis, ed., The Early Medici and Their Artists, London, 1996, pp. 153-168.

“New Evidence for the Iconography of David in Quattrocento Florence,” I Tatti Studies 6, 1995, pp. 115-133.

“The Equestrian Statue of Fra Leonardo da Prato and its Predecessors in Renaissance Venice,” The Save Venice Journal, 1995, pp. 34-37.

Review of Daniela Lamberini and others, Giuliano e la bottega dei da Maiano, Atti del Convegno Internazionale di Studi, Florence, 1994, in The Burlington Magazine 137, August 1995, p. 552.

Review of Birgit Laschke, Fra Giovan Angelo da Montorsoli. Ein florentiner Bildhauer des 16. Jahrhunderts, Berlin, 1993, in The Burlington Magazine 137, March 1995, p. 189.

Review of Bruce Boucher, The Sculpture of Jacopo Sansovino, New Haven and London, 1991, in The Burlington Magazine 136, December 1994, pp. 847-849.

8 “Social Structure and the Typology of Funerary Monuments in Early Renaissance Florence,” RES: Anthropology and Aesthetics 26, Autumn 1994, pp. 47-67.

Review of Giancarlo Gentilini, I Della Robbia: la scultura invetriata del Rinascimento, Florence, 1992, in The Burlington Magazine 136, May 1994, pp. 319-320.

Review of Robert Munman, Sienese Renaissance Tomb Monuments, Philadelphia, 1993, in The Burlington Magazine 136, March 1994, p. 175.

“Documents for the Pulpits of San Lorenzo, Florence,” Mitteilungen des Kunsthistorischen Institutes in Florenz 38, 1994, pp. 147-53.

“The Christ and St. Thomas of Andrea del Verrocchio,” in Loretta Dolcini, ed., Verrocchio's Christ and Saint Thomas: A Masterpiece of Sculpture from Renaissance Florence, catalogue of an exhibition held at The Palazzo Vecchio, Florence, and at The Metropolitan Museum of Art, New York, December 1992 - October 1993, pp. 53-79.

“Verrocchio's Christ and Saint Thomas: chronology, iconography and political context,” The Burlington Magazine 134, April 1992, pp. 225-233.

“Verrocchio's David,” in Steven Bule, ed., Verrocchio and Late Quattrocento Italian Sculpture, Florence, 1992, pp. 107-116.

“A Source for Michelangelo's National Gallery Entombment,” Mitteilungen des Kunsthistorischen Institutes in Florenz 33, 1989, pp. 390-393.

Eight catalogue entries, on drawings by Leonardo, Michelangelo, Tintoretto, Durer, Fuseli, Cavalcaselle and Ingres, in Egbert Haverkamp-Begemann, ed., Creative Copies, catalogue of an exhibition held at the Drawing Center, New York, April 9 - July 23, 1988, pp. 26-8, 29-31, 53-5, 94-5, 104-5, 165-7, 172-3, 200-1.

One catalogue entry, on a drawing by Annibale Carracci, in Diane DeGrazia, Correggio and His Legacy, Sixteenth-Century Emilian Drawings, catalogue of an exhibition held at the National Gallery of Art, Washington, D.C., and at the Galleria Nazionale di Parma, March - July 1984, pp. 368-70.

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