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The document is a critical review of several books on Sienese painting, published in the New York Times on September 30. The author praises "A History of Sienese Painting" by Professor Edgell, highlighting its comprehensive coverage from the 13th to the 16th centuries and its contextualization of the art within political and social history. The review also mentions other books, including Alfred Nicholson's "Cimabue," which the reviewer criticizes for being unoriginal and poorly written, and Benjamin Rowland's "A History of Late Latin Gothic Painting," which is noted for its broad scope but criticized for lack of detail. The review discusses the challenges of writing about Sienese painting due to gaps in knowledge and the need for further study. It also touches on attributions and the influence of foreign elements on Sienese art. The reviewer suggests that Edgell's book is the most useful for the layman, amateur, and college student, while the other books are more suited for specialists.

The image shows a page from a newspaper article, specifically from the New York Times dated September 30, 1972. The article discusses the historical and artistic significance of Sienese painting.

Key points from the article include:

1. Lack of Comprehensive Artistic History:

   • There is a notable gap in the artistic history of Europe, particularly in the fourteenth century, due to the lack of detailed documentation. This makes it challenging to understand the origins and dissemination of Sienese art.

2. Recent Works:

   • Three books have recently been published that provide detailed insights into Sienese painting and related artworks:
     • A History of Sienese Painting by Professor Edgell.
     • A History of American Architecture by Robert A. M. Stern.
     • A History of Central Italian Architecture by Flake Kimball.
     • Cimabue: A Critical Study by Alfred Nicholson.
     • A Study of Late Latin Gothic Painting in Catalonia by Benjamin Rowland Jr.

3. Professor Edgell’s Contributions:

   • Professor Edgell has produced a book, "A History of Sienese Painting," which covers the art of the Sienese region from the thirteenth to the fifteenth centuries. His work is noted for its scholarly approach and detailed analysis.
   • Edgell's book is praised for its comprehensive coverage and the inclusion of various aspects of Sienese art, including architecture and religious influences.

4. Cimabue and Duccio:

   • The article discusses the historical context of Cimabue and Duccio's works. Cimabue's art is seen as pivotal in transitioning from Gothic to Renaissance styles.
   • The Madonna Rucellai, painted by Duccio, is highlighted as a significant work that exemplifies the transition period, blending traditional and innovative elements.

5. Artistic Style and Spread:

   • The text mentions that Sienese painting's international influence was significant, spreading beyond Italy into regions like Burgundy, Flanders, and Bohemia.
   • It notes the contributions of artists like Taddeo Gaddi and Taddeo di Bartolo, who were influential in spreading Sienese techniques and styles.

6. Specific Examples and Artworks:

   • The article mentions specific artworks and their historical context, such as the Crucifixion from the Church of Santa Croce and the Jihlava Codex.

7. Influence and Legacy:

   • The article underscores the importance of understanding the origins and context of Sienese art to comprehend its broader impact on European art history.

The article is part of a broader discussion on the historical development of European art and the pivotal role played by Sienese artists during the medieval period.

The document discusses the historical dissemination and understanding of Sienese painting, highlighting a significant gap in knowledge due to the lack of information about the artistic history of Europe outside of Italy. It mentions the work of Professor Edgell, who has produced several books on Sienese art, and the influence of foreign artists like Duccio, who worked in Siena. The text also references other scholars and their contributions, such as Alfred Nicholson's work on the Rucellai Madonna and the debate surrounding its attribution. It emphasizes the importance of understanding the international style and the spread of Sienese painting across Europe, particularly in the fourteenth century, and the need for a comprehensive history that includes the layman and college student. The document concludes with a reference to a newspaper article from the NY Times and mentions a transcript from a monitor under July.

The document is a critical review of several books on Sienese painting, focusing on the work of Professor Edgell. It highlights the lack of knowledge about the spread of Sienese art outside Italy, attributing this to the limited availability of books on the subject. The review praises Edgell's books for their comprehensive coverage of the international style and Sienese art, noting their scholarly depth and the use of historical data. It also mentions other works, such as those by Alfred Nicholson and Bernard Berenson, which discuss the influence of Sienese art on other regions. The text concludes by discussing the attribution of the Rucellai Madonna to Duccio and the historical context of Sienese painting, emphasizing its widespread influence across Europe.

The image displays a newspaper article from The New York Times, dated September 30, with a focus on the analysis of Sienese painting and its historical context.

Summary of the Article:

Title and Author:
The article is written by John Russell.

Content:
The text discusses the challenges and complexities in understanding the development and spread of international Gothic painting in Europe, particularly focusing on Sienese art.

Key Points:

1. Historical Context:

   • The article mentions the rapid spread of the international style of painting from around the mid-14th century, starting from the Papal court at Avignon.
   • It highlights the extraordinary gap in knowledge about the period, which creates difficulties for art historians.

2. Works and Artists:

   • Various significant works and artists are listed, including altarpieces and miniatures from different regions of Europe (Russia, France, Spain, Italy, etc.).
   • Examples include works by Simone Martini and the Limbourg brothers.

3. Books Reviewed:

   • The article reviews three books that address international Gothic style:
     • "Painting in Europe 800-1200" by George H. Edgell.
     • "A History of Sienese Painting" by Professor John Pope-Hennessy.
     • A study of Catalan art by Benjamin Rowland Jr.

4. Focus on Sienese Painting:

   • The main focus is on Professor John Pope-Hennessy's book, "A History of Sienese Painting," which is praised for its comprehensive coverage.
   • Pope-Hennessy's work is noted for its thorough interpretations, especially concerning the political and religious context of Sienese art.
   • The book discusses the influences on Sienese artists, such as the impact of French and Roman art, and the importance of the Dominican and Franciscan orders in Siena.

5. Controversial Points:

   • The article touches on some contentious issues, like the dating of certain works and the influence of artists such as Cimabue.
   • It notes the debate over whether some works traditionally attributed to Duccio should be credited to other artists, like the Master of the Palazzo Venezia.

6. Critique and Praise:

   • The article praises Edgell’s work for its clarity but criticizes it for omitting recent scholarship and controversial topics.
   • It appreciates Pope-Hennessy's detailed and careful analysis, despite some omissions and the controversial nature of some of his conclusions.

7. Alfred Nicholson's Monograph:

   • The article briefly mentions Alfred Nicholson's monograph on Cimabue, indicating it is a focused study on the artist's impact on the Rucellai Madonna.

Conclusion:
The article offers a rich discussion on the complexities and nuances of Sienese painting, highlighting the importance of Pope-Hennessy’s contributions while also pointing out areas of debate and ongoing research in the field.

The image shows a page from a typed document, specifically page 2 of a review or article. The text is organized into three columns and discusses a book titled "History of Sienese Painting" by Professor George H. Edgell.

Key points from the text include:

1. Critique of Existing Art History: The document begins by criticizing the inadequate dissemination of knowledge about Italian art, particularly from the 14th and 15th centuries, and the lack of understanding of the international style of that period.

2. Professor Edgell's Work: The review highlights Professor Edgell's book, which covers Sienese painting from the 13th to the 16th century. The book is noted for its thorough research and detailed analysis, although it is mentioned that the illustrations are somewhat hazy.

3. Attribution and Documentation: Edgell's work is praised for handling attribution problems and documenting the development of Sienese painting. The book is considered a significant contribution to the field, especially for its coverage of the 15th century.

4. Comparison with Other Works: The review compares Edgell's book with other scholarly works on Italian art, including those by Bernard Berenson and Roberto Longhi. It notes that Edgell's approach is more inclusive and less exclusive than some of his contemporaries.

5. Criticism and Praise: The review also mentions some criticisms of Edgell's work, particularly regarding his attribution of certain paintings and his interpretation of documentary evidence. However, it concludes that his book is a valuable addition to the study of Sienese painting.

6. Additional Notes: There are handwritten notes at the bottom right corner, mentioning references to the New York Times and other publications, indicating that the review might have been published or is intended for publication.

Overall, the document provides a detailed review of Professor Edgell's book, highlighting its strengths and weaknesses and comparing it with other significant works in the field of art history.

This is an image of a page with typescript text, likely from an article, review, or an academic paper. It is arranged in two columns, filled with dense paragraphs. There's a handwritten note at the top left corner that appears to say "Sept. 12," though it's only partially visible. On the top right corner of the page, handwritten text indicates a reference, "N.Y. Times Sept. 30." Below this text, there's another handwritten note that says, "For older notices, see," followed by a reference to another document or article, which appears to be dated July or January 30, 1938, and February or November 20, 1941.

Also, on the left side of the page near the center, part of a hole-punch is visible, suggesting that this paper may be part of a bound collection or a filing system. The text discusses various aspects of art history, referencing figures such as "Professor Egidi," famous pieces of art, artistic styles or movements like "Gothic Architecture," and other scholarly analysis. It also comments on the works and publications of several authors in the context of art history.

The image shows an old newspaper clipping that has been attached to a modern piece of paper with three punched holes for insertion into a binder. The original article is printed in a small, densely packed font, typical of historical newspaper formatting. There are a few annotations on the modern paper, which are handwritten in ink. The article discusses various aspects of art, history, and architecture, particularly focusing on aspects of Sienese painting and medieval European artistic dissemination.

Key handwritten details include:

• "Septik 1-2" in the upper left corner.
• "N.Y. Times Sep. 30 -" in the right mid-section.
• Directions for further notices referencing the "Monitor under July", "Transcript - Nov. 30 P.8", and "Post Jan. 24 P.1".

The text of the article itself touches upon subjects such as the spread of artistic style from Avignon in the mid-14th century, Professor Edgell's textbooks on Sienese painting, the involvement of various scholars, analysis of artistic themes, and mentions of specific historical periods and figures.

The image is a page from a book or magazine, containing a review or article about three books on Sienese painting. The three books are:

1. "A History of Sienese Painting" by Professor George H. Edgell
2. "Cimabue" by Alfred Nicholson
3. "A History of American Architecture" by Fiske Kimball

The review discusses the strengths and weaknesses of each book. Professor Edgell's book is praised for its thoroughness, clarity, and attention to detail, but criticized for being too focused on architectural aspects and lacking a sense of style. Alfred Nicholson's book on Cimabue is considered the most important of the three, but is criticized for being dogmatic and lacking recent commentaries. Fiske Kimball's book on American architecture is mentioned but not reviewed in detail.

The review also discusses the history and development of Sienese painting, mentioning notable artists like Duccio, Simone Martini, and Ambrogio Lorenzetti. It touches on the influence of French and international styles on Sienese painting in the 14th and 15th centuries.

Overall, the image provides a glimpse into the scholarly debate and discussion surrounding the study of Sienese painting during that time period.

The image shows a page from a newspaper or magazine, dated September 30, with an article discussing art history and the works of various artists, particularly focusing on Sienese painting. The text is organized into multiple columns, with the main article on the left and a smaller article on the right.

The main article discusses the history of Sienese painting, highlighting its significance and the contributions of various artists. It mentions the work of Professor Edgell, who has produced a book on the subject, and discusses the influence of Sienese painting on other regions, such as Florence and Burgundy. The article also touches on the challenges of studying Sienese painting, including the difficulty in placing certain works within the historical context due to the lack of dated and documented evidence.

The smaller article on the right provides additional context and commentary on the main article. It mentions the controversy surrounding the attribution of certain works, particularly the Madonna Rucellai, and the debate among art historians regarding its origin and authorship. The article also references other notable works and artists, such as the Brancacci chapel frescoes and the contributions of Roger Fry and Bernard Berenson to the study of art history.

The layout of the page is typical of a newspaper or magazine, with a clean and organized design. The text is printed in a serif font, which is common for print media, and the columns are separated by vertical lines to distinguish between different articles. The date and publication name are printed at the top of the page, indicating the source and timeliness of the information presented.

Overall, the image provides a glimpse into the world of art history and the ongoing debates and discussions surrounding the works of various artists and their contributions to the field. It highlights the importance of studying and understanding the historical context of art and the challenges that art historians face in attributing works to specific artists and periods.