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_aND588.M25 _bM33 1994 |
082 | 0 | 4 | _a759.03 |
100 | 1 |
_aMacGregor, Neil, _d1946- _eauthor. _9407684 |
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245 | 1 | 2 |
_aA victim of anonymity : _bthe Master of the Saint Bartholomew Altarpiece / _cNeil MacGregor. |
264 | 1 |
_aNew York, N.Y. : _bThames and Hudson, _c1994. |
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300 |
_a48 pages : _billustrations ; _c22 cm. |
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_atext _btxt _2rdacontent |
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_aunmediated _bn _2rdamedia |
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_avolume _bnc _2rdacarrier |
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490 | 1 | _aTwenty-fifth of the Walter Neurath memorial lectures | |
504 | _aIncludes bibliographical references (pages 46-48). | ||
520 | _aAre there miscarriages of justice in art history? Neil MacGregor believes there are. However great an artist, if his name is lost he will not receive a fair verdict from posterity. No exhibition will be devoted to his work; no books will be written about him; he will not even figure in indexes. | ||
520 | 8 | _aAmong these neglected geniuses is the 15th-century painter known only as the Master of the Saint Bartholomew Altarpiece. He may have been Netherlandish or German; he may or may not have been a monk. On stylistic grounds an oeuvre of half a dozen paintings, three of them large altarpieces, are attributed to him, and from them a vivid, if hypothetical, personality can be built up: emotional, compassionate, observant, original, humorous. | |
520 | 8 | _aAll that is certain is that he was a great painter whose name, if known, would rank with Botticelli or Holbein. In A Victim of Anonymity, the Director of the National Gallery, London, corrects the judgment of history by demonstrating the power of this unacknowledged master. MacGregor makes us look closely at works that are all too easily passed over, showing us a peerless artist whose paintings derive their fame from nothing but their own superlative merits. | |
588 | _aMachine converted from AACR2 source record. | ||
600 | 0 | 0 |
_aMaster of the Saint Bartholomew Altarpiece, _dactive 15th century _9407685 |
650 | 0 |
_aArt, European _9314022 |
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_aWalter Neurath memorial lectures ; _v25th. _91038386 |
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