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Timothy Clifford has written 6 work(s)
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Cover for 9781906270124 Cover for 9781903278734 Cover for 9781903278536 Cover for 9780903598835 Cover for 9780903598590
cover image for 9781903278734
Product Description: Since taking the helm of the National Galleries of Scotland in 1984, Sir Timothy Clifford has overseen the acquisition of some of the finest, and best-loved works in the national collection. This book chronicles the development of the collection under his directorship and casts light upon the wide range of acquisitions, including the fascinating stories behind their purchase...read more

Paperback:

9781903278734 | 1 edition (Natl Galleries of Scotland, June 15, 2006), cover price $40.00 | About this edition: Since taking the helm of the National Galleries of Scotland in 1984, Sir Timothy Clifford has overseen the acquisition of some of the finest, and best-loved works in the national collection.

cover image for 9781903278536
Product Description: Painting in Renaissance Venice represents one of the most vital chapters in the entire history of European art. Its enormous influence was due above all to the achievements of its dominant personality, Titian, the greatest of Venetian painters...read more

Hardcover:

9781903278536 | Natl Galleries of Scotland, January 1, 2005, cover price $75.00 | About this edition: Painting in Renaissance Venice represents one of the most vital chapters in the entire history of European art.

cover image for 9780903598590
Product Description: Antonio Canova (1757-1822) suffers not only from having been overlooked, but from the superabundance of praise, indeed outright worship that was meted out to him by his contemporaries and the majority of subsequent fellow-sculptors, connoiseurs, and aesthetics throughout the nineteenth century...read more
By Timothy Clifford (editor) and National Gallery of Scotland (corporate author)

Paperback:

9780903598590 | Natl Galleries of Scotland, December 1, 1996, cover price $25.00 | About this edition: Antonio Canova (1757-1822) suffers not only from having been overlooked, but from the superabundance of praise, indeed outright worship that was meted out to him by his contemporaries and the majority of subsequent fellow-sculptors, connoiseurs, and aesthetics throughout the nineteenth century.

displaying 1 to 6 | at end