Constant change and expansion have been the hallmarks of Swedish art history as an academic discipline since the first university chairs were established a hundred years ago. It has crossfertilized with related disciplines and benefited from the parallel emergence of art museums and other institutions in Sweden. Swedish art history should thus be seen as the result of people and institutions tapping into one another’s activities, united by their dedication to art and visual culture as an object of study and experience. In this edited volume – the first Swedish survey for an international readership – the authors dwell on their own understanding of the early formation of the discipline and examine its current identity and potential progress. The contributors elaborate on art history research and teaching at Swedish universities, but also at related institutions such as the Swedish Institute in Rome, Nationalmuseum, and Skissernas Museum – Museum of Artistic Process and Public Art in Lund. The book’s authors come from a variety of research fields, institutions, and generations and provide a multifaceted picture of the past and the future of Swedish art history.

George Orson Welles (1915-1985) is considered to be among the greatest and most influential filmmakers of all time. At just twenty-five years old, he co-wrote, produced, directed, and starred in his Academy-Award-winning debut film Citizen Kane (1941). His innovative and distinctive directorial style - nonlinear narratives, unusual camera angles, deep focus shots, and long takes - continues to be emulated by directors and cinematographers to this day. The brilliant yet provocative Welles won multiple Grammys, a Golden Globe, and the greatest honor the Directors Guild of America bestows: the D.W. Griffith Award. His final film, The Other Side of the Wind, was released in 2018, 33 years after his death. In Citizen Welles, author Frank Brady presents a comprehensive and complete picture of the artist and auteur. Painstakingly researched, Brady delves into Welles's creative achievements, from his critically acclaimed film Citizen Kane and his controversial radio broadcast The War of the Worlds (1938) to his pioneering stage productions of the classics of Shakespeare, Shaw, and Ionesco; and Welles' starring turn on Broadway in Shaw's Heartbreak House (for which he made the cover of Time). Brady also explores other notable films, including The Magnificent Ambersons (1942), Touch of Evil (1958), and Chimes at Midnight (1965). This all-encompassing work also details the personal side of Welles's life, including his romances with Rita Hayworth and Dolores Del Rio and the confounding tragedy of his final years. Presented is a captivating and compelling encapsulation of the revered and respected artist.

In London in 1770 Georg Christoph Lichtenberg (1742–1799) remarked, ‘What a work could be written on Shakespeare, Hogarth and Garrick! There is something similar in the genius of all three.’ Two-and-a-half centuries on, Robin Simon’s highly original and illuminating book takes up the challenge. William Hogarth (1697–1764) and David Garrick (1717–1779) closely associated themselves with Shakespeare, embodying a relationship between plays, painting and performance that had been understood since Antiquity and which shaped the rules for history painting drawn up by the Académie royale in Paris in the seventeenth century.History painting was considered the highest form of art: a picture illustrating a moment drawn from just a few lines in a revered text. Hogarth’s David Garrick as Richard III (1745) transformed those ideas because, although it looked like a history painting, it was also a portrait of an actor in performance. With it, Hogarth established the genre of theatrical portraiture, a new and distinctively British kind ofhistory painting.This book offers a fresh examination of theatrical portraits through close analysis of the pictures and of the texts used in performance. It also examines the central role of the theatre in British culture, while highlighting the significance of Shakespeare, Hogarth and Garrick in the European Enlightenment and the rise of Romanticism. In this context another trio of genius features prominently: Lichtenberg, GottholdEphraim Lessing and Denis Diderot.Familiar paintings and performances are seen in an entirely new light, while unfamiliar pictures are also introduced, including major paintings and drawings that have never been published.The final chapter shows that the inter-relationship between plays, painting and performance survived into the age of cinema, revealing the pictorial sources of Laurence Olivier’s legendary film Richard III.

This vibrant catalogue presents the work of contemporary artist Harmonia Rosales. Featuring over twenty paintings and a monumental sculptural installation, Harmonia Rosales: Master Narrative is the artist’s first major touring exhibition and first scholarly catalogue of her work. Los Angeles-based artist Harmonia Rosales (b. Chicago, 1984) rewrites the canon, or the master narrative of art history, from the perspective of an Afro-Cuban American woman in the twenty-first century. Her canvases seamlessly weave the tales and charactersrooted in West African Yorùbá religion, Greek mythology, and Christianity with the canonical works and artistic techniques of the European Renaissance. Through her visual storytelling, Rosales presents the notion of human and cultural survival on her own terms– one that highlights the beauty and strength of Black people, particularly women, while touching upon grand narratives of creation, tragedy, survival and transcendence. This beautifully illustrated publication includes a catalogue of works in the exhibition, a biography of the artist and new essays by noted scholars in their fields. These essays explore themes ranging from storytelling and narrative to gender and depiction of beauty to race and diaspora.

Climate change is the great existential reality of our time. How we approach this crisis will affect life on Earth for present and future generations. In spite of our collective ideals, irreversible damage to the environment is imminent and represents urgent local and global concern. Through artfully rendered photographs of an acutely endangered landscape, Oceano: An Elegy for the Earth explores the deep paradox between the devout, powerful presence of nature and environmental loss and damage.Extending eighteen miles along Central California’s famed coastline and divided into both a natural preserve and a state vehicular recreation area, the Oceano Dune complex has long fascinated photographers such as Ansel Adams and Edward and Brett Weston. The ephemeral, ever-changing landscape here expresses a sublime order and reflects many correlations between land and the dynamics of human society. Using metaphors that inspire hope and explore impermanence and darkness contrasted with the purity of suffusing light, Ulrich’s photographs have been likened to Mark Rothko’s “silence and solitude” that express the resonance and subtle dimensions of consciousness.The coastal environment of the Oceano Dunes is tempered by multiple threats such as incessant motorized activity, the toxicity of surrounding industrial-scale agriculture, and some of the worst air quality in the nation. Thus, for the book’s sequence of images, the photographer employs the literary form of an elegy, an extended reflection and lamentation on Earth during the early twenty-first century. An elegy refers to a poetic reflection of sorrow and love, often for a transient, mortal entity. As Ulrich writes: “Sorrow and love for Earth, indeed. No better articulation exists for my regard for our dying planet and common mother.”

In 1811, architect Benjamin Henry Latrobe spurred American builders into action when he called for them to reject "the corrupt Age of Dioclesian, or the still more absurd and debased taste of Louis the XIV," and to emulate instead the ancient temples of Greece. In response, people in the antebellum trans-Appalachian region embraced the clean lines, intricate details, and stately symmetry of the Grecian style. On newly built public buildings, private homes, and religious structures, references to classical Greek architecture became the preferred ornamentation. Several antebellum cities and towns adopted the moniker of "Athens," styling themselves as centers of culture, education, and sophistication. As the trend grew, American citizens understood the name as a link between the Grecian style and the founding principles of democracy—signaling a change of taste in service to the larger American cultural ideal. In Athens on the Frontier, Patrick Lee Lucas examines the material culture of Grecian-style buildings in antebellum America to help recover nineteenth-century regional identities. As communities worked to define their built landscape and develop a shared Western identity, Lucas's study invites readers to question many of the assumptions Americans have made about divisions and cultural formation in antebellum society.

Matthew Krishanu’s paintings explore topics including childhood, race, religion, art history, family, grief and love. His subjects – frequently Brown people, especially children – are realised with a shallow pictorial depth, delicate washes of colour, and with a sense of interior life. Through this, Krishanu questions the positions of his painterly subjects and depictions of landscapes in relation to the legacy of European colonialism and the art historical canon. Krishanu’s practice is heavily informed by his early childhood spent in Dhaka where his parents moved in order to work for the Church of Bangladesh.This, his first trade monograph, presents a number of series of Krishanu’s works: Another Country, Expatriates, Mission, House of God, Religious Workers and In Sickness and In Health. The paintings included have been made in oil and/or acrylic on canvas, linen or board, with the earliest produced in 2007 and most recent completed in 2022.The publication features essays by Mark Rappolt and Dorothy Price, alongside an interview with the artist by Ben Luke. Rappolt, Editor-in-Chief at ArtReview magazine, details the various worlds present within Krishanu’s paintings. He draws out key themes within Krishanu’s oeuvre such as power, religion, identity and memory, while highlighting its distance from didacticism, and at times, its carefully constructed ambivalence, through examination of key works such as Mission School (2017), Mountain Tent (Two Boys) (2020) and Playground (2020). Price, Professor of Modern and Contemporary Art and Visual Culture at The Courtauld, writes sensitively about solitude, memory and emotion which are palpable within Krishanu’s work. In particular, the series In Sickness and In Health, which traces a life path of Uschi Gatward, the artist’s late wife, over sixteen years to her untimely death from cancer in late 2021. The series is foregrounded as a significant and intimate body of work that subtly shifts over the time period it depicts. In a new interview with Luke, a critic and editor at The Art Newspaper, Krishanu discusses his practice in relation to ideas of religion, race, global art history, photography, health and personal experiences. Krishanu’s work explores, in the artist’s own words, ‘the puzzle of painting’.The publication has been edited by Georgia Griffiths and Matt Price. It has been designed by Joe Gilmore, printed and bound by EBS, Verona, and produced by Anomie Publishing and Niru Ratnam, London. The publication has been supported by Guy Halamish; Jhaveri Contemporary, Mumbai; Niru Ratnam, London; Taimur Hassan; and Tanya Leighton, Berlin and Los Angeles.Matthew Krishanu (b.1980) was born in Bradford and is based in London. He completed an MA in Fine Art at Central Saint Martins in 2009. Recent solo exhibitions include ‘Playground’, Niru Ratnam (2022), ‘Undercurrents’, LGDR, New York (2022), ‘Picture Plane’, Niru Ratnam, London (2020), ‘Arrow and Pulpit’, Tanya Leighton, Berlin (2021), ‘Corvus’, Iniva, London (2019), ‘House of Crows’, Matt’s Gallery, London (2019), ‘A Murder of Crows’, Ikon Gallery, Birmingham (2019), ‘The Sun Never Sets’, Midlands Arts Centre, Birmingham, (2019) and ‘The Sun Never Sets’, Huddersfield Art Gallery, Huddersfield (2018). He has recently been in the group exhibitions ‘The Kingfisher’s Wing’, GRIMM, New York (2022), ‘Prophecy’, Mead Gallery, Warwick Arts Centre (2022), ‘Mixing It Up: Painting Today’, Hayward Gallery, London (2021), ‘Coventry Biennial’, Leamington Spa Art Gallery & Museum, Leamington Spa and Herbert Art Gallery & Museum (2021), ‘John Moores Painting Prize’, Walker Art Gallery, Liverpool (2021), ‘Everyday Heroes’, Hayward Gallery/Southbank Centre (2020) and ‘A Rich Tapestry’, Lahore Biennale (2020).

Chibụike Ụzọma (b. 1992, Port Harcourt, Nigeria), is a multidisciplinary artist working with painting, photography, drawing, text and video, living and working in New Haven, Connecticut. Documented here are sixteen of the artist’s large paintings rendered in oil and acrylic or acrylic spray paint on canvas, made in 2022. Accompanying an exhibition of the same name at Simon Lee Gallery, London, the first solo exhibition of his work in the UK, this publication is the fourth pillar of a collaborative project by the artist, setting his own paintings in relation to video and audio works by Edward Owens and João Orecchia respectively. Ụzọma works with non-linear narratives, using a mix of painting languages that dodges and weaves the liminal spaces between representation and meaning. Fragments of stencilled letters jolt against textured pools of paint, and diaphanous figures are cropped by cinematic horizons. Comprising colourful, abstruse portraiture against stark black and white backgrounds, the paintings in 'To Kick a Stone' are deeply suggestive, but ultimately formalist explorations of shape and composition.An introduction by Kat Sapera, Director of Simon Lee Gallery, draws upon her first encounters with the artist and details the influence of philosophy and the act of looking. Sapera brings the collaboration with Orecchia and Owens to the forefront of her discussion while touching on Ụzọma’s making processes.In an essay by Ụzọma, the artist himself writes lyrically upon subjects including poetry, religion, good and evil, in order to bring a number of key concepts that circle his work into the field of view.Essays by Bishupal Limbu, Associate Professor of English at Portland State University, and by Carlos Valladares, writer and critic, help amass a portrait of an artist whose enquiry is informed by film, philosophy and pictorial language – with the layering, unravelling and opening-up of narrative as a core focus. Their writing brings key art historical figures into dialogue with Ụzọma’s work.Lastly, the artist appears in conversation with writer and curator Ekow Eshun. This frank and illuminating conversation provides insight into the artist’s painting practice, previous series of works and intentions, while also discussing issues of identity and Blackness. Their interview further reflects on past exhibitions, connections with other key artists and Ụzọma’s recent MFA studies at Yale.Published on the occasion of the exhibition Chibụike Ụzọma – To Kick a Stone, 19 January – 25 February 2023, Simon Lee Gallery, London.Edited by Kat Sapera, designed by Joe Gilmore, printed by Pressision, Leeds and co-published in 2023 by Simon Lee Gallery and Anomie Publishing, London.

The Byzantine cathedral of Hagia Sophia has been a source of wonder and fascination since its sixth-century construction. It was the premier monument of the Byzantine capital, Constantinople, and remains one of the most recognisable symbols of modern Istanbul. Often seen as encapsulating Byzantine history and culture, the building has been the subject of much scholarly interest since the Renaissance. However, while almost all previous archaeological work has focussed on the church itself, the surrounding complex of ecclesiastical buildings has been largely neglected. The research project presented here (co-directed by the authors) is the first to focus on the archaeology of the immediate environs of the church in order to understand the complex as a whole. Previously unrecorded material includes parts of the Patriarchal complex, from which the Orthodox Church was governed for almost a millennium, what may be the ‘Great Baptistery’ north of the church, and what are perhaps the first fragments of the fourth-century phase of the cathedral yet identified. The discovery of an unrecognised porch, surviving to its full height within the standing building, changes the known plan of the famous sixth-century church. This new information provides fresh evidence about the appearance and function of the complex, illustrating its similarities to, and dissimilarities from, Episcopal centers elsewhere in the Byzantine world. Combined with other archaeological sources, these discoveries enable us to place the sixth-century cathedral in its urban context and to reconsider what Hagia Sophia can tell us about the wider Byzantine world.

This fascinating book tells the story of the building of William M. Voelkle’s collection of fakes and forgeries of manuscript illumination. With thorough essays and beautiful illustrations, Voekle tells the story of nearly seventy fakes and forgeries. The book takes the reader on a journey that sheds light on the nature and detection of forgery of manuscript illumination. An engaging introduction by Christopher de Hamel raises tantalizing questions that touch on the very meaning of authenticity and our continuing fascination with forgery. Scientific analysis of pigments, the identification of sources, and the scrutiny of the materials all come into play in the unfolding story of the collection.An illustrated catalogue presents the group of nearly seventy fakes and forgeries that display astonishing breadth. They include not only the Spanish Forger and other Western European miniatures by Ernesto Sprega, Caleb William Wing, and Germano Prosdocimi, and others, but fascinating examples from the Christian East, from Ethiopia, from Mexico, and from Persia and India. Published here in its entirety for the first time, the Voelkle Collection is the only comprehensive one of fakes and forgeries of manuscript painting in private hands.Voelkle’s fifty-year career at the Morgan Library& Museum was inextricably interwoven with the construction of the collection, which is detailed in the foreword. The personal narrative reveals the author as a collector and a scholar. As an enthusiastic collector, he pursues examples of forgery, marveling at the range of skills of deception. As a scholar, he disentangles the sources that served forgers and the chains of provenance that sometimes led to their exposure. Included also in the book is a comprehensive list of William M. Voelkle’s publications.

This is the first catalogue of the collection of early modern ceramics in the Courtauld. The pieces in the collection showcase brilliantly the skill of potters and pottery painters working at the time of Raphael and Titian.Maiolica is one of the most revealing expressions of Renaissance art. Its extraordinary range of colours retain the vividness that they had when they left the potter's kiln. Italian potters absorbed techniques and shapes from the Islamic world and incorporated ornament and subject matter from the arts of ancient Rome. This new approach to pottery making, combined with the invention of printing, woodcut and engraving, resulted in an extraordinary type of painted pottery, praised by Vasari in his Lives of the Artists for 'surpassing the ancient with its brilliance of glaze and variety of painting'.The collection boasts a magnificent group of vessels made during the high Renaissance, the golden age of Italian maiolica. It includes precious and delicate Deruta lustreware with imagery deriving from Perugino and Raphael, as well as vessels painted in a narrative style of pottery painting known as istoriato. Highlights include vessels depicting episodes taken from the first printed Bibles of the Renaissance. Istoriato maiolica flourished particularly in the lands of the Dukes of Urbino, who promoted this craft by sending painted pottery to prestigious patrons across Europe.Emblems and devices painted on the pottery help us understand that they were meant to be used and enjoyed by the elites in Renaissance society, such as the Medici and other great Tuscan families. The catalogue will include two recent gifts to the Courtauld, a rare tile of the famous patroness of the arts Marchioness Isabella D'Este, and a refined dish painted with the story of Diana and Actaeon.All major Renaissance pottery centres are represented in the collection, including Siena, Faenza and Venice, as well as splendid examples of the mysterious pharmacy jars made at the foot of the mountain of Gran Sasso in the town of Castelli d'Abruzzo. These achievements of the art of pottery in the early modern period are completed by fine examples of Ottoman pottery, as well as examples of Valencian lustreware.Sani's introductory essay on the Victorian collector Thomas Gambier Parry will shed new light on the development of this fascinating collection, making links between Gambier Parry's artistic practice and his collecting and revealing new insights into his taste as a collector. Each detailed entry uncovers a wealth of new information on the provenance of the pieces.

Kathryn Maple (b. 1989, Canterbury) is an artist specialising in drawing and painting. Her large-scale paintings feature urban, suburban and rural landscapes which are frequently populated by human figures. Her work is distinctive for its use of intensely layered mark making, lending the work both urgency and intimacy. The places and people depicted, rendered in a range of painting and drawing materials, are frequently afforded a sense of wildness or mystery by dint of their colour palette, collage-like compositions and recurring motifs such as wind-blown trees and winding pathways. This, her first monograph, features 379 images, many of which are reproduced for the first time. These include the presentation of her recent major series of oil pastel on paper works 'A Year of Drawings', alongside reproductions of her mixed media works on paper, as well as large oils on canvas. An essay by Kathryn Lloyd, writer, artist and Contemporary Art Editor at The Burlington Magazine, offers insight into Maple’s impulse to explore the world around her through her work. Large-scale paintings, replete with dense layers of marks, are constructed by means of personal encounter, memory and imagination. Details of man-made objects, tree bark and human skin, for instance, become composite, crucial in capturing fleeting experiences of place and of people. Lloyd brings out the symbolism of Maple’s work, making art historical comparisons while connecting these to the specific local characteristics of Maple’s familiar South London landscapes and the importance of walking to the artist’s practice.An interview with independent curator and critic Anneka French is focused on 'A Year of Drawings', a series of 365 drawings made daily since January 2022 outside the artist’s studio. They discuss the process, materials and art historical and literary influences upon Maple’s work, with a focus on how her drawing and painting strands of work impact each other. Their conversation provides an insight into the thinking of the artist at a crucial stage in Maple’s career.Taking its title from the lyrics of The Cure’s A Forest (1980), Editor Matt Price’s essay 'Into the Trees' offers an introduction to, and an overview of,' A Year of Drawings', discussing examples of the works and considering aspects of the series ranging from art historical precedents to themes, recurring motifs and interpretation.The monograph is published to coincide with the exhibitions: Under a Hot Sun, by Kathryn Maple, Walker Art Gallery, Liverpool, 11 February – 30 April 2023 and Kathryn Maple: A Year of Drawings, Lyndsey Ingram Gallery, London, 1–17 March 2023. It has been edited by Matt Price, designed by Anomie Studio, printed by Mixam, Watford, and published by Anomie, London. Kathryn Maple was born in Canterbury in 1989, and lives and works in South London. She graduated in 2011 with a degree in fine art printmaking from the University of Brighton, before undertaking a postgraduate programme at the Royal Drawing School in 2012–13. Maple has featured in exhibitions at venues including Barber & Lopes at the British Art Fair, London, The Royal Academy, London, Beers London, Messums Wiltshire, Flowers Gallery, London, Frestonian Gallery, London, Christies New York, Kristin Hjellegjerde Gallery, London, and Drawing Room, London. Maple was the winner of the Times Watercolour Competition 2014 and 2016, and The John Moores Painting Prize 2020. Her exhibition Under the Hot Sun at the Walker Art Gallery, Liverpool, 2023, was awarded to Maple as part of her prize for winning the latter.

In the early days of motion pictures - before superstars, before studio conglomerates, before even the advent of sound - there was a woman named Pearl White (1889-1938). A quintessential beauty of the time, with her perfectly tousled bob and come-hither stare, White's rise to stardom was swift; her assumption of the title of queen of American motion picture serials equally deserved. Born the youngest of five children in a small, rural Missouri farm town, White left high school at only 15, taking on jobs to help keep her family financially afloat, work that included small parts in plays for a local stock company. At 18 she began a three-year stage career with the Trousdale Stock Company, touring on the road and sinking her teeth into leading roles in productions such as Jane Eyre. As she continued to build her professional repertoire, White joined the Powers Film Company in New York and made her film debut in 1910. Her reputation for fearless performances and her penchant for doing her own stunt work soon set her apart from her female colleagues.It was that same daring attitude that would put her on the map internationally as an actress. From flying airplanes to swimming across rapid rivers, to racing cars in serials like The Perils of Pauline (1914), White was undaunted by the demands of her onscreen career. She would go on to star in popular serial classics such as The Exploits of Elaine (1915), Pearl of the Army (1916), The House of Hate (1918), and The Lightning Raider (1919). As active socially as she was professionally, White would also translate her audacious spirit outside of her career by playing a part in the early feminist movement. Her projection of a positive image of bravery on screen served as a model for suffragettes battling for women's rights in the US. William M. Drew's The Woman Who Dared: The Life and Times of Pearl White, Queen of the Serials, is the first full-length biography of this pioneering star. A study in film and female agency, Drew delves into the cultural impact of Pearl White's work and how it evolved along a concurrent trajectory with the social upheavals of the Progressive Era.

Combining approaches from Western art music, First Nations music, pop music, studies of contemporary community practice, and anthropological and ethnomusicological field work, 'Australasian Music, At Home and Abroad' presents peer-reviewed chapters that critically reflect on Australasian music-making in the last 125 years. As the first interdisciplinary consideration of music in the Australasian region in 15 years, this book advances Australasian music as a dynamic area of interdisciplinary research in the 21st century. Its themes range from institutional histories of music, composer biography, music and migration, in diaspora, and cultural exchange and collaboration.

Published by Ad Ilissvm in association with the Burlington Magazine.Hugely ambitious, Titian: Sources and Documents includes all known documents about Titian and his work dating from his lifetime, and all known references to him in contemporary publications. The relevant section of each text is transcribed in full, preceded by a short summary in English, with extensive annotation and, where necessary, a commentary. The intention of this incredible work of scholarship is to provide a comprehensive survey of the surviving historical evidence about Titian and his career.Titian was one of the most famous, successful and long-lived of Renaissance painters. Much of his output was for rulers or institutions whose archives have been in large part preserved, and many of his family papers have also survived. In addition, he was mentioned in more than a hundred and sixty different publications in his lifetime. Although hundreds of the documents about him and his work have been published, usually in specialised publications based on material in a single archive, there have only been two attempts to provide an overview of the entire body of documents and early published references to him, the first by Crowe and Cavalcaselle in 1877, the second by Adolfo Venturi in 1928. These publications were necessarily selective and included transcriptions of only a small part of the material which was used.The collection, amounting to over two thousand nine hundred items, includes not only texts specifically about Titian himself, but also those concerning his siblings and children, his principal assistants and the other members of the Vecellio family already active as painters before his death, as well as inscriptions on paintings and prints. In addition to texts dating from Titian's lifetime, the collection includes all biographical material published before 1700 and all other texts that could realistically be thought to reflect first- or second-hand anecdotal information about him. The particular strengths and limitations of the principal early printed sources and the circumstances in which they were produced are discussed in a substantial introduction, which also includes an overview of the main archival collections consulted in the preparation of the book. Most of these are in Italy, but others are in Spain, Austria and Germany. New transcriptions are provided for the great majority of the documents that have previously been published, and many hitherto unknown documents have been included. Consideration is given also to documents now known only via secondary sources, and to fake documents, of which a significant number were produced in the past two centuries.

This beautiful publication accompanies an exhibition at the Morgan Library & Museum of the work of Giovanni Battista Piranesi (1720–1778). It is the most important study of Piranesi’s drawings to appear in more than a generation. In a letter written near the end of his life, Giovanni Battista Piranesi explained to his sister that he had lived away from his native Venice because he could find no patronsthere willing to support “the sublimity of my ideas. ” He resided instead in Rome, where he became internationally famous working as a printmaker, designer, architect, archaeologist, theorist, dealer, and polemicist. While Piranesi’s lasting fame is based above all on his etchings, he was also an intense, accomplished, and versatile draftsman, and much of his work was first developed in vigorous drawings. The Morgan Library& Museum holds what is arguably the largest and most important collection of these works, more than 100 drawings that include early architectural caprices, studies for prints, measured design drawings, sketches for a range of decorative objects, a variety of figural drawings, and views of Rome and Pompeii. These works form the core of the book, which will be published on the occasion of the Morgan’s Spring 2023 exhibition of Piranesi drawings. More than merely an exhibition catalogue or a study of the Morgan’s Piranesi holdings, however, this publication is a monograph that offers a complete survey of Piranesi’s work as a draftsman. It includes discussion of Piranesi’s drawings in public and private collections worldwide, with particular attention paid to the large surviving groups of drawings in New York, Berlin, Hamburg, and London; it also puts the large newly discovered cache of Piranesi material in Karlsruhe in context. The most comprehensive study of Piranesi’s drawings to appear in more than a generation, the book includes more than 200 illustrations, and while focused on the drawings it offers insights on Piranesi’s print publications, his church of Santa Maria del Priorato, and his work as a designer and dealer. In sum, the present work offers a new account of Piranesi’s life and work, based on the evidence of his drawings.