Donal Cooper
Biographic Data
| ID | 6044540 |
|---|---|
| NAME | Donal Cooper |
| GIVEN NAMES | Donal |
| FAMILY NAME | Cooper |
| SIGNATURE | COOPER D |
| AFFILIATIONS | Courtauld Institute of Art |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 1999 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Between Venice and the Balkans. Lovro Dobričević’s Polyptych for the Dubrovnik Franciscans
Our understanding of painting in Renaissance Dubrovnik (Ragusa) depends on a handful of surviving works. Arguably the most sophisticated is the Franciscan polyptych now divided between the Wernher Collection in London and the National Gallery in Prague, which has been attributed to the Kotor-born and Venice-trained artist, Lovro Dobričević. This article challenges existing proposals that associate the Wernher-Prague altarpiece with a commission o…
Immersive Renaissance Florence
While visualizations of various types—such as maps, 3-D models, and animations—have become staples in digital humanities approaches to art and architectural history, how to integrate analog data (artworks and drawings, archival documents, and so on) into born-digital outputs remains a fundamental concern. This article discusses processes developed through ongoing work on the art historical visualization project Florence4D. It proposes an integrat…
The Art and Science of the Church Screen in Medieval Europe
Fresh examinations of one of the most important church furnishings of the middle ages. The churches of medieval Europe contained richly carved and painted screens, placed between the altar and the congregation; they survive in particularly high numbers in England, despite being partly dismantled during the Reformation. While these screens divided "lay" from "priestly" jurisdiction, it has also been argued that they served to unify architectural s…
Redefining the Altarpiece in Early Renaissance Italy
Set in stone
In 1864 the V&A (then the South Kensington Museum) purchased a large marble altar frame from a dealer in Florence. The quality of the frame identifies it as the product of a leading Florentine sculpture workshop, possibly that of Giuliano da Sangallo at the end of the fifteenth century. Its dimensions indicate that it would have housed a large altarpiece in one of the city's churches. The frame's provenance remains obscure, but this article offer…
Musées et recherche en histoire de l’art en Grande-Bretagne
Vu de ce côté-ci de la Manche, l’histoire de l’art en Grande-Bretagne donne l’impression d’être anglo-saxonne au sens où les passerelles entre musées et universités semblent beaucoup plus nombreuses, actives et fréquentées. Les musées, mais aussi les collections sont souvent historiquement liés à des lieux d’enseignement (la Christ Church Picture Gallery d’Oxford par exemple), plusieurs conservateurs ont été de grands professeurs (pensons simplem…
The expeditious artist
Books reviewed in this article: Jean K. Cadogan, Domenico Ghirlandaio – Artist and Artisan Ronald G. Kecks, Domenico Ghirlandaio und die Malerei der Florentiner Renaissance
Qui Perusii in archa saxea tumulatus’
‘QUI PERUSII IN ARCHA SAXEA TUMULATUS’: LA TOMBA DEL BEATO EGIDIO NELLA CHIESA DI SAN FRANCESCO AL PRATO, PERUGIA L'autore presenta una nuova ricostruzione della tomba del Beato Egidio (†1262), il terzo compagno di San Francesco ed una delle figure più importanti della prima storia francescana. La tomba di Egidio a San Francesco al Prato, Perugia, ha acquisito una notevole considerazione nello studio del primo patrocinio francescano grazie sia al…
Rome Scholarships
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Qui Perusii in archa saxea tumulatus’
‘QUI PERUSII IN ARCHA SAXEA TUMULATUS’: LA TOMBA DEL BEATO EGIDIO NELLA CHIESA DI SAN FRANCESCO AL PRATO, PERUGIA L'autore presenta una nuova ricostruzione della tomba del Beato Egidio (†1262), il terzo compagno di San Francesco ed una delle figure più importanti della prima storia francescana. La tomba di Egidio a San Francesco al Prato, Perugia, ha acquisito una notevole considerazione nello studio del primo patrocinio francescano grazie sia al…
Rome Scholarships
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Qui Perusii in archa saxea tumulatus’
‘QUI PERUSII IN ARCHA SAXEA TUMULATUS’: LA TOMBA DEL BEATO EGIDIO NELLA CHIESA DI SAN FRANCESCO AL PRATO, PERUGIA L'autore presenta una nuova ricostruzione della tomba del Beato Egidio (†1262), il terzo compagno di San Francesco ed una delle figure più importanti della prima storia francescana. La tomba di Egidio a San Francesco al Prato, Perugia, ha acquisito una notevole considerazione nello studio del primo patrocinio francescano grazie sia al…
The expeditious artist
Books reviewed in this article: Jean K. Cadogan, Domenico Ghirlandaio – Artist and Artisan Ronald G. Kecks, Domenico Ghirlandaio und die Malerei der Florentiner Renaissance
Musées et recherche en histoire de l’art en Grande-Bretagne
Vu de ce côté-ci de la Manche, l’histoire de l’art en Grande-Bretagne donne l’impression d’être anglo-saxonne au sens où les passerelles entre musées et universités semblent beaucoup plus nombreuses, actives et fréquentées. Les musées, mais aussi les collections sont souvent historiquement liés à des lieux d’enseignement (la Christ Church Picture Gallery d’Oxford par exemple), plusieurs conservateurs ont été de grands professeurs (pensons simplem…
Set in stone
In 1864 the V&A (then the South Kensington Museum) purchased a large marble altar frame from a dealer in Florence. The quality of the frame identifies it as the product of a leading Florentine sculpture workshop, possibly that of Giuliano da Sangallo at the end of the fifteenth century. Its dimensions indicate that it would have housed a large altarpiece in one of the city's churches. The frame's provenance remains obscure, but this article offer…
Redefining the Altarpiece in Early Renaissance Italy
The Art and Science of the Church Screen in Medieval Europe
Fresh examinations of one of the most important church furnishings of the middle ages. The churches of medieval Europe contained richly carved and painted screens, placed between the altar and the congregation; they survive in particularly high numbers in England, despite being partly dismantled during the Reformation. While these screens divided "lay" from "priestly" jurisdiction, it has also been argued that they served to unify architectural s…
Immersive Renaissance Florence
While visualizations of various types—such as maps, 3-D models, and animations—have become staples in digital humanities approaches to art and architectural history, how to integrate analog data (artworks and drawings, archival documents, and so on) into born-digital outputs remains a fundamental concern. This article discusses processes developed through ongoing work on the art historical visualization project Florence4D. It proposes an integrat…
Between Venice and the Balkans. Lovro Dobričević’s Polyptych for the Dubrovnik Franciscans
Our understanding of painting in Renaissance Dubrovnik (Ragusa) depends on a handful of surviving works. Arguably the most sophisticated is the Franciscan polyptych now divided between the Wernher Collection in London and the National Gallery in Prague, which has been attributed to the Kotor-born and Venice-trained artist, Lovro Dobričević. This article challenges existing proposals that associate the Wernher-Prague altarpiece with a commission o…
Art (8 works) · Historical and Religious Studies of Rome (6 works) · Art history (4 works) · The Renaissance (4 works) · Visual arts (4 works) · Altarpiece (3 works) · Painting (3 works) · Byzantine Studies and History (2 works) · Computer Science (2 works) · Historical and Archaeological Studies (2 works)