Artibus et Historiae no. 81 (XLI)
2020, ISSN 0391-9064Up
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- William L. Barcham – List of Publications (pp. 11–12)
Books, catalogues and co-edited collections of essays
Art and Faith in the Venetian World, Venerating Christ as the Man of Sorrows, in collaboration with Catherine Puglisi, Turnhout, 2019
Tiepolo’s Pictorial Imagination, Drawings for Palazzo Clerici, New York, 2017
New Perspectives on the Man of Sorrows, co-edited with Catherine Puglisi, Kalamazoo MI, 2013
Happiness, or Its Absence in Art, co-edited with Ronit Milano, Newcastle upon Tyne, 2013
I colori della seduzione, Giambattista Tiepolo e Paolo Veronese, co-edited with Linda Borean, exh. cat., Civici Musei di Udine, Udine, 2012
Passion in Venice, Crivelli to Tintoretto and Veronese (The Man of Sorrows in Venetian Art), co-authored/edited with Catherine Puglisi, exh. cat., Museum of Biblical Art, New York, 2011, New York and London, 2010
GRAND IN DESIGN. The Life and Career of Federico Cornaro, Prince of the Church,Patriarch of Venice and Patron of the Arts, Venice, 2001
Giovanni Battista Tiepolo, New York, 1992
The Religious Paintings of Giambattista Tiepolo, Piety and Tradition in Eighteenth-Century Venice, Oxford, 1989
The Imaginary Views of Antonio Canaletto, New York, 1977
Essays and Articles
‘Doge Alvise IV Mocenigo, an Overlooked Patron of the Arts in Eighteenth-Century Venice’, Saggi e Memorie di Storia dell’Arte (forthcoming 2020)
‘Giandomenico Tiepolo’s “Via Crucis” in San Polo: Its Devotional Foundations and Artistic Preparation’, in La Chiesa di San Polo (forthcoming 2020)
‘Jacopo da Montagnana, the “Man of Sorrows” and the Bellini’, Artibus et Historiae, 80, 2019, pp. 11–23
‘A New Study on “Venezia Altrove”, Venetian Painters Working in German Lands in the Eighteenth Century”, review/essay, Arte Veneta, 73, 2016, pp. 197–203
‘Two Drawings by Giambattista Tiepolo for an Unidentified Ceiling’, co-authored with Anthony Panzera, Master Drawings, 54, 2015, pp. 343–364
‘Milling the bread of salvation: art, patronage and technology in the de Lazara altarpiece in Padua’, co-authored with Catherine Puglisi, in Artistic Practices and Cultural Transfer in Early Modern Italy, ed. by Nebehat Avcioğlu and Allison Sherman, Farnham, 2015, pp. 149–174
‘The Man of Sorrows and Royal Imaging: the Body Politic and Sovereign Authority in Mid-Fourteenth-Century Prague and Paris’, co-authored with Catherine Puglisi, in Essays in Honour of Stefania Mason, co-edited with Linda Borean, Artibus et Historiae, 70, 2014, pp. 31–59
‘La via del dubbio’ (2014) at <http://letadeldubbio.blogspot.it>
‘Giambattista Tiepolo e Gerolamo Mengozzi Colonna, l’armonia pittorica a due pennelli e la mistica carmelitana’, in La Chiesa di Santa Maria di Nazareth e la spiritualità dei Carmelitani a Venezia, ed. by Giacomo Bettini and Martina Frank, Venice, 2013, pp. 191–208
‘Six Panels by Michele Giambono, “pictor Sancti Marci”’, in New Perspectives on the Man of Sorrows, ed. by Catherine R. Puglisi and William L. Barcham, Kalamazoo MI, 2013, pp. 191–218
‘Franciscans and the Man of Sorrows in Fifteenth-Century Padua’, in Beyond the Text: Franciscan Art and the Construction of Religion, ed. by Xavier Seubert and Oleg Bychkov, Saint Bonaventure, NY, 2013, pp. 62–83
‘Picturing the Pursuit of Happiness in the Veneto Countryside, Giandomenico Tiepolo’s Paradoxical Peasants in the Villa Valmarana, Vicenza’, in Happiness, or Its Absence in Art, co-edited with Ronit Milano, Newcastle upon Tyne, 2013, pp. 91–106
‘Deferential or Formulaic? Antonio Vivarini and the Sacred Image of the Man of Sorrows’, Artibus et Historiae, 67, 2013 (Art in 16th-Century Venice: Context, Practices, Developments: Proceedings of a Conference in Honour of Peter Humfrey, vol. 1), pp. 57–72
‘Giambattista Tiepolo e Paolo Veronese, un duetto a una voce sola’, in I colori della seduzione, Giambattista Tiepolo e Paolo Veronese, exh. cat., Civici Musei di Udine, Udine, 2012, pp. 22–48
‘Domenico Morone’s Man of Sorrows and Madonna of Humility: Columbia’s “Cloth of Humility”’, MUSE. Annual of the Museum of Art and Archaeology, University of Missouri, 46, 2012, pp. 45–70
‘La trasformazione del Christo passo in un emblema urbano a Padova nel Quattrocento’, in L’iconografia della solidarietà. La mediazione delle immagini (secoli XIII–XVIII), ed. by Mauro Carboni and Maria Giuseppina Muzzarelli, Venice, 2011,pp. 29–46
‘Private Images for Public Spaces: Religious Art in Eighteenth-Century Venice’, in Venice in the Age of Canaletto, exh. cat., Sarasota FL and Memphis TN, 2009–2010, Munich, London and New York, 2009, pp. 41–49
‘Rosalba Carriera e Anton Maria Zanetti tra Venezia e Parigi nella prima metà del secolo XVIII’, in Rosalba Carriera 1673–1757, Verona, 2009, pp. 147–156
‘Bernardino da Feltre, the Monte di Pietà and the Man of Sorrows: Activist, Microcredit and Logo’, co-authored with Catherine Puglisi, Artibus et Historiae, 58, 2008, pp. 35–63
‘Il Caso Cornaro’, in Il collezionismo d’arte a Venezia. Il Seicento, ed. by Linda Borean and Stefania Mason, Venice, 2007, pp. 183–201
‘Gli esordi del Cristo passo nell’arte veneziana e la Pala feriale di Paolo Veneziano’, co-authored with C. Puglisi, in Cose Nuove e Cose Antiche. Scritti per MonsignorAntonio Niero e Don Bruno Bertoli, Venice, 2006, pp. 403–429
‘Il Teatro alla Moda’, in Tiepolo, Ironia e comico, exh. cat., Venice, 2004, pp. 69–73, and catalogue entries nos 2–13, pp. 76–93
‘Verwandtschafts- und Selbstrepräsentation in der Cornaro-Kapelle, Rom’, in Tod undVerklärung: Grabmalskultur in der frühen Neuzeit, ed. by Arne Karsten and Philipp Zitslsperger, Cologne, Weimar and Vienna, 2004, pp. 205–218
‘Luca Carlevarijs e la veduta veneziana del Settecento’, in Gaspar Vanvitelli e le origini delvedutismo, exh. cat., Rome and Venice, 2002–2003, Rome, 2002, pp. 57–67
‘Paolo Veronese e la Roma dei Barberini’, co-authored with Catherine Puglisi, Saggi e Memorie di Storia dell’Arte, 25, 2001, pp. 57–87
‘Mirar la ciudad. La Venecia de los vedutistas’, in Summa Pictorica. Historia Universal de la Pintura, VIII: El Siglo de la Razón, Barcelona, 2000, pp. 37–49
Essays on 17th- and 18th century painting in Western Europe, in I Dipinti della National Gallery di Londra (and English translation), Udine, 2000
‘e chi non potrebbe cantare facilmente Febo’, in Giambattista Tiepolo nel Terzo Centenariodella Nascita. Atti del Convegno Internazionale di Studi ‘Giambattista Tiepolo’, Padua, 1998, pp. 255–259
‘Re-examining Federico Cornaro’s Retirement to Rome’, Studi Veneziani, 35, 1998, pp. 137–152
‘Tiepolo, Rococo and the Eighteenth Century’, pp. 640–691, and ‘Landscape, Portraiture, and Genre Painting in Eighteenth-Century Venice’, pp. 740–789, in Venice, Art andArchitecture, ed. by G. Romanelli, Cologne and Udine, 1977
‘Cornaro, Marco’, vol. 7, pp. 861–862; ‘Sagredo, Zaccaria’, vol. 27, p. 521; and ‘Tiepolo family’, vol. 30, pp. 854–865, in The Dictionary of Art, London and New York, 1996
‘Tiepolo as a Painter of History and Mythology and as a Decorator’, pp. 105–117, and entries in Giambattista Tiepolo 1696–1770, exh. cat., Ca’ Rezzonico, Venice, and the Metropolitan Museum of Art, New York, 1996, New York, 1996
‘Townscapes and Landscapes’, pp. 93–112, in The Glory of Venice. Art in the EighteenthCentury, exh. cat., Royal Academy of Arts, London and the National Gallery of Art, Washington DC, 1994–1995
‘Vedute e paesaggi’, pp. 168–175, in Splendori del Settecento Veneziano, exh. cat., Ca’ Rezzonico, Venice, 1995
‘Il Trionfo di Flora di Giambattista Tiepolo: una Primavera per Dresda’, Arte Veneta, 45, 1994, pp. 71–77
Entries for drawings by Giambattista Piranesi, in European Master Drawings from theCollection of Peter Jay Sharp, exh. cat., National Academy of Design, New York, 1994, p. 66
‘Some New Documents on Federico Cornaro and His Two Chapels in Rome’, BurlingtonMagazine, CXXXV, 1993, pp. 821–822
‘Sancta Dei Genetrix: La Vergine Maria nei Soffitti del Tiepolo’, in La Chiesa Veneziana del Settecento, Venice, 1993, pp. 249–265
‘Two Views by Bernardo Bellotto: View of Dresden with the Frauenkirche at Left and View of Dresden with the Hofkirche at Right’, Journal of the North Carolina Museum of Art, XV, 1991, pp. 14–28
‘Patriarchy and Politics: Tiepolo’s “Galleria patriarcale” in Udine Revisited’, in Interpretazioni veneziane: studi di storia dell’arte in onore di Michelangelo Muraro, Venice, 1984, pp. 427–438
‘Costume in the Frescoes of Tiepolo and 18th-Century Italian Opera’, in Opera and Vivaldi, Austin, 1984, pp. 149–169
‘The Sagredo Chapel in San Francesco della Vigna’, Artibus et Historiae, 7, 1983, pp. 101–124
Essays on paintings by Antonio Canaletto and Francesco Guardi, in Italian Paintings XIV–XVIII Centuries from the Collection of the Baltimore Museum of Art, Baltimore, 1981, pp. 245–253, 261–273
Essays on French and English paintings of the 18th century, in Small Paintings of the Masters, vol. II, New York, 1980
‘Giambattista Tiepolo’s Ceiling for S. Maria di Nazareth in Venice: Legend, Traditions, and Devotions’, Art Bulletin, LXI, 1979, pp. 430–447
‘Canaletto and a Commission from Consul Smith’, Art Bulletin, LIX, 1977, pp. 383–393
Brief essays in Primitive to Picasso, exh. cat. for Knoedler’s Gallery, New York, 1966
Reviews
‘Bernardo Strozzi (1582–1644). The Conquest of Colour, exhibition at Palazzo Nicolosio Lomellino, Genoa’, Burlington Magazine, CLXII (January), 2019, pp. 52–53
‘Rencontres à Venise, Étrangers et Vénitiens dans l’art du XVIIe siècle, exhibition at Musée des Beaux-Arts, Ajaccio’, Burlington Magazine, CLX (September), 2018, pp. 774–777
‘Giovanni Bellini. La nascita della pittura devozionale umanistica. Gli studi, Emanuela Daffra, ed.’, Burlington Magazine, CLVI (December), 2014, pp. 819–820
‘Tiepolo, “il miglior pittor di Venezia”, exhibition at Villa Manin, Passariano’, Burlington Magazine, CLV (April), 2013, pp. 285–286
‘Il collezionismo d’arte a Venezia. Il Settecento, L. Borean and S. Mason, eds. (Venice, 2009)’, Apollo, CLXXIV (July–August), 2011, pp. 98–99
‘C. Mazza, I Sagredo, committenti e collezionisti d’arte nella Venezia del Sei e Settecento (Venice, Istituto Veneto delle Scienze, Lettere ed Arti, 2004)’, Arte Veneta, LXIII, 2006, pp. 267–269
‘The Cambridge Companion to Giovanni Bellini, P. Humfrey, ed., and The Cambridge Companion to Titian, P. Meilman, ed.’, Italian Quarterly, XLII, 2005, pp. 91–93
‘Lettere artistiche del Settecento Veneziano, A. Bettagno and M. Magrini, eds.’, Arte Veneta, LX, 2003, pp. 226–228
‘Bernardo Bellotto and the Capitals of Europe, exhibition at the Museum of Fine Arts, Houston, TX’, Apollo, CLV, 2002, pp. 47–49
‘P. Sohm’s Pittoresco: Marco Boschini, his Critics, and their Critiques of Painterly Brushwork in Seventeenth- and Eighteenth-Century Italy (Cambridge Univ. Press, 1991)’, Italian Quarterly, XXXIII, 1996, pp. 131–133
‘P.F. Brown’s Venetian Narrative Painting (Yale Univ. Press, 1988)’, Italian Quarterly, XXXII, 1995, pp. 148–151
‘J. Bean and W. Griswold, 18th Century Italian Drawings in the Metropolitan Museum of Art’, Italian Quarterly, XXXII, 1995, p. 147
‘M. Levey’s Giambattista Tiepolo’, Italian Quarterly, XXIX, 1988, pp. 117–119
‘A. Corboz’s Canaletto. Una Venezia immaginaria’, Burlington Magazine, CXXVIII, 1986, p. 614
‘J.G. Links’s Canaletto’, Art Bulletin, LXVI, 1984, pp. 703–704
‘A. Binion’s I Disegni di Giambattista Pittoni’, The Eighteenth Century: A CurrentBibliography, n.s., 9, 1983, pp. 310–311
‘Masterpieces of Eighteenth-Century Drawing (Intro. by G. Romanelli)’, The EighteenthCentury: A Current Bibliography, n.s., 9, 1983, p. 364
‘Claude Lorrain, exh. cat., The National Gallery of Art, Washington DC’, The Art Journal, 43, 1983, pp. 73–76
‘G. Briganti’s Gaspar van Wittel e l’origine della veduta settecentesca’, The Art Bulletin, LI, 1969, pp. 189–194
Books, catalogues and co-edited collections of essays
Art and Faith in the Venetian World, Venerating Christ as the Man of Sorrows, in collaboration with Catherine Puglisi, Turnhout, 2019
Tiepolo’s Pictorial Imagination, Drawings for Palazzo Clerici, New York, 2017
New Perspectives on the Man of Sorrows, co-edited with Catherine Puglisi, Kalamazoo MI, 2013
Happiness, or Its Absence in Art, co-edited with Ronit Milano, Newcastle upon Tyne, 2013
I colori della seduzione, Giambattista Tiepolo e Paolo Veronese, co-edited with Linda Borean, exh. cat., Civici Musei di Udine, Udine, 2012
Passion in Venice, Crivelli to Tintoretto and Veronese (The Man of Sorrows in Venetian Art), co-authored/edited with Catherine Puglisi, exh. cat., Museum of Biblical Art, New York, 2011, New York and London, 2010
GRAND IN DESIGN. The Life and Career of Federico Cornaro, Prince of the Church,Patriarch of Venice and Patron of the Arts, Venice, 2001
Giovanni Battista Tiepolo, New York, 1992
The Religious Paintings of Giambattista Tiepolo, Piety and Tradition in Eighteenth-Century Venice, Oxford, 1989
The Imaginary Views of Antonio Canaletto, New York, 1977
Essays and Articles
‘Doge Alvise IV Mocenigo, an Overlooked Patron of the Arts in Eighteenth-Century Venice’, Saggi e Memorie di Storia dell’Arte (forthcoming 2020)
‘Giandomenico Tiepolo’s “Via Crucis” in San Polo: Its Devotional Foundations and Artistic Preparation’, in La Chiesa di San Polo (forthcoming 2020)
‘Jacopo da Montagnana, the “Man of Sorrows” and the Bellini’, Artibus et Historiae, 80, 2019, pp. 11–23
‘A New Study on “Venezia Altrove”, Venetian Painters Working in German Lands in the Eighteenth Century”, review/essay, Arte Veneta, 73, 2016, pp. 197–203
‘Two Drawings by Giambattista Tiepolo for an Unidentified Ceiling’, co-authored with Anthony Panzera, Master Drawings, 54, 2015, pp. 343–364
‘Milling the bread of salvation: art, patronage and technology in the de Lazara altarpiece in Padua’, co-authored with Catherine Puglisi, in Artistic Practices and Cultural Transfer in Early Modern Italy, ed. by Nebehat Avcioğlu and Allison Sherman, Farnham, 2015, pp. 149–174
‘The Man of Sorrows and Royal Imaging: the Body Politic and Sovereign Authority in Mid-Fourteenth-Century Prague and Paris’, co-authored with Catherine Puglisi, in Essays in Honour of Stefania Mason, co-edited with Linda Borean, Artibus et Historiae, 70, 2014, pp. 31–59
‘La via del dubbio’ (2014) at <http://letadeldubbio.blogspot.it>
‘Giambattista Tiepolo e Gerolamo Mengozzi Colonna, l’armonia pittorica a due pennelli e la mistica carmelitana’, in La Chiesa di Santa Maria di Nazareth e la spiritualità dei Carmelitani a Venezia, ed. by Giacomo Bettini and Martina Frank, Venice, 2013, pp. 191–208
‘Six Panels by Michele Giambono, “pictor Sancti Marci”’, in New Perspectives on the Man of Sorrows, ed. by Catherine R. Puglisi and William L. Barcham, Kalamazoo MI, 2013, pp. 191–218
‘Franciscans and the Man of Sorrows in Fifteenth-Century Padua’, in Beyond the Text: Franciscan Art and the Construction of Religion, ed. by Xavier Seubert and Oleg Bychkov, Saint Bonaventure, NY, 2013, pp. 62–83
‘Picturing the Pursuit of Happiness in the Veneto Countryside, Giandomenico Tiepolo’s Paradoxical Peasants in the Villa Valmarana, Vicenza’, in Happiness, or Its Absence in Art, co-edited with Ronit Milano, Newcastle upon Tyne, 2013, pp. 91–106
‘Deferential or Formulaic? Antonio Vivarini and the Sacred Image of the Man of Sorrows’, Artibus et Historiae, 67, 2013 (Art in 16th-Century Venice: Context, Practices, Developments: Proceedings of a Conference in Honour of Peter Humfrey<span style="mso-bidi-font
