Celebrated by Malvasia as the creator and promoter of the new maniera moderna, Guido Reni (1575–1642) introduces the fourth age of painting: a period marked by an original and sometimes bold elaboration of the notion of artistic perfection developed by the Carracci and embodied more specifically by Ludovico’s “synthesis of styles.”

Critical edition by Lorenzo Pericolo; translation by Anne Summerscale; essay by Elizabeth Cropper; historical notes by Anne Summerscale, Alexandra Hoare, Lorenzo Pericolo, and Elizabeth Cropper, 2013

Edited by Elizabeth Cropper and Lorenzo Pericolo; Critical Edition by Lorenzo Pericolo; Introduction, Translation, and Notes by Naoko Takahatake with the Critical Edition of Roger de Piles's Annotations to Malvasia's Festina Pittrice by Carlo Alberto Girotto; Illustration Volume with the Support of Mattia Biffis, 2017

Published on the occasion of the 75th anniversary of the National Gallery of Art, this volume highlights the Center’s Kress Professors, 1995–2016, with a short reminiscence about each professor by a young scholar in residence during their term.

Celebrating the first twelve years of the Edmond J. Safra Professorship at the Center and profiles the professors in residence from 2003–2014.

The A. W. Mellon Lectures in the Fine Arts were established by the Board of Trustees of the National Gallery of Art on December 6, 1949. Inspired by Paul and Mary Mellon, they were intended to bring to the people of the United States the results of the best contemporary thought and scholarship bearing upon the subject of the fine arts.

Celebrates the history of the Samuel H. Kress Professorship at the National Gallery of Art, providing summary accounts of the 32 illustrious scholars who held the professorship through 1995 and lists predoctoral fellows in residence during their respective tenures.

Count Carlo Cesare Malvasia's Felsina pittrice, or Lives of the Bolognese Painters, first published in two volumes in Bologna in 1678, is one of the most important sources for the history and criticism of painting in Italy. This richly illustrated volume provides a translation and critical edition of the opening part of the Felsina pittrice, which focuses on the art of late medieval Bologna.

This thirteen-volume series provides an annual record of research projects in the history of art and related disciplines sponsored by public and private foundations around the world during the period 1980–1994.

Edited by Therese O'Malley, with contributions by Elizabeth Kryder-Reid and Anne L. Helmreich, 2010

This volume is a collection of papers presented at an international conference, cosponsored by the Center and the École du Louvre, held in Paris on October 29–31, 1984. The contributors are an international group of Watteau scholars and students of the period that includes the end of the reign of Louis XIV and the Régence. The essays consider theater, the arts, dance, music, and fashion from Watteau’s time, enabling us to understand better the artist’s milieu, what he took from it, what he contributed to it, and also how the “myth” of Watteau was created. 

This volume of essays reexamines the establishment and early history of the Accademia di San Luca in Rome, one of the most important centers of governance, education, and theory in the arts for the early modern period and the model for all subsequent academies of art worldwide.

The National Gallery of Art exhibition The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries (December 1986–January 1987) provided an opportunity to study works that reside in diverse collections or that had been newly discovered or recently attributed to Emilian painters. This publication resulted from a symposium held on January 29–30, 1987, which brought together an international group of speakers and participants to discuss topics from attribution to the foundations of the reform of painting and style in early modern Emilia.

Prior to the arrival of Europeans in the first half of the 16th century, Andean peoples had no tradition of writing. For this reason, texts written by early modern European chroniclers and later Andean authors are a critical source of information on the Andes. This landmark three-volume reference work inventories the principal sources useful for the study of the region—particularly its Prehispanic and vice-regal cultures—covering relevant texts from the 16th through the 19th century. With written contributions by 122 scholars from nineteen countries and amply illustrated with drawings, engravings, photographs, and maps, the Guide offers new perspectives on key works and reflects substantial changes in historical and cultural studies of the past fifty years.

In 1983, the Center convened an international group of architectural drawings specialists, the Architectural Drawings Advisory Group (ADAG), to build consensus concerning cataloguing standards for architectural drawings in both electronic and printed form. In 1986 the Foundation for Documents of Architecture (FDA) was established to promote ADAG’s recommendations in an automated cataloguing environment and to translate ADAG’s recommended standards into published guidelines.

The Latin American Fellowship Program began in 1994 as the first major research collaboration of the Association of Research Institutes in Art History (ARIAH). It concluded with the publication of this research report.