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Creighton Gilbert – A non-selective chronological bibliography

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"A non-selective bibliography is the only useful kind!" — Creighton Gilbert

Prof. Gilbert (B.A., New York University, Institute of Fine Arts, 1942; Ph.D., New York University, Institute of Fine Arts, 1955) taught at Emory University, the University of Louisville, and Indiana University, Brandeis University, CUNY, Cornell, and Yale. He was a visiting professor at UC Berkeley (1959), the University of Leiden (1974-75), Williams College (1976), and Hebrew University (1985). He was a Fulbright Lecturer at the University of Rome (1951-52), a Kress Fellow at the Harvard Center for Italian Renaissance Studies in Florence (1967-68), and a Fellow of the Netherlands Institute for Advanced Study (1972-73). He received the College Art Association's Mather Award in 1964, and he was a Fellow of the American Academy of Arts and Sciences.

Note: I worked on this bibliography with Prof. Gilbert; the annotations, groupings, and clarifications it contains are his. For my personal recollection of him, see this post.

Note: updated 2017/01/14.

Books, Catalogues, and Articles (210 items): 1940s, 1950s, 1960s, 1970s, 1980s, 1990s, 2000s
Book Reviews (78 items): 1940s, 1950s, 1960s, 1970s, 1980s, 1990s, 2000s
Only Books (10 items)

Books, Catalogues, and Articles: 1940s

  1. "New Evidence for the Date of Piero della Francesca's Count and Countess of Urbino," Marsyas 1 (1941): 41-53.
  2. "Michelangelo's Madrigal 'Gli sguardi che tu strazii,'" Art Bulletin 26 (1944): 48-51.
  3. "Foscolo's Digamma and Romantic Houses," Philological Quarterly 23 (1944): 343-353.
  4. "Milan and Savoldo," Art Bulletin 27 (1945): 124-138.
  5. "Michelangelo's Poetry in English Verse," Italica 22 (1945): 180-195. "Addenda and Cross-Index," Italica 24 (1947): 46-53.
  6. "Antique Frameworks for Renaissance Art Theory: Alberti and Pino," Marsyas 3 (1946): 87-106.
  7. "Special Forms in Some Pictures for the Carmelites: Pietro Lorenzetti to Savoldo," Institute of Fine Arts News 4 (1946): 39-44.
  8. "Galatea Jones: Artist of an Unknown Locus," Critique 1 (1947): 39-44.
  9. "Emory Portraits, I: the 1820s and 1830s," Emory University Quarterly 3 (1947): 64.
  10. "A Sonnet of Michelangelo to Vittoria Colonna," (translation), Emory University Quarterly 3 (1947): 64.
  11. Translations, some annotated, of: nine poems of Michelangelo, one by Agostino Carracci, and a section of Diderot on painting; also, in collaboration with E. G. Holt, of: sections of Alberti's On Painting and Manetti's Life of Brunelleschi; in E. G. Holt, Literary Sources of Art History, (Princeton: Princeton University Press, 1947), 198-202, 251, 514-517, 109-119, 95-107. Many later reprints under new title, A Documentary History of Art, (New York: Doubleday Anchor), 2 vols.
  12. "Top Flight Art Comes to Atlanta," Atlanta Journal Magazine, 22 June 1947, 12.
  13. Exhibition Catalogues at the University of Louisville, Allen R. Hite Art Institute, 4-page folders (a few 6 pages), including a 1-page essay:
    • 1947-1948: Worden Day and Leo Marschutz / Stefan Hirsch / Lasansky Prints / American Indian Art / Reinhart and Zabriskie / 17th and 18th Century Art from Louisville Collections
    • 1948-1949: Engravings of Dürer / Valadier's Imaginary Architecture / Ulfert Wilke / David Smith / Byron Browne / A City Plan for Louisville / Rodin / Sylvia Wald / Victor Hammer
    • 1949-1950: Etchings of Rembrandt / Mary Spencer May / Josef Albers
    • 1950-1951: Clarence Carter / Dürer to Chagall / Drawings 1500-1875 / Maude Ainslie / The Flight into Egypt / Scholarship Winners
    • 1952-1953: The Allen Print Collection / The Belknap Gifts / 17th Century Italian Drawings / Franz Bernheimer / The Bakuba and Others / Evergood Drawings / The Prints of Worden Day
    • 1953-1954: Whistler / Masson Color Lithographs / A Year of Print Collecting / Painters' Printed Pages / Cartoon and Caricature / Edouard Pignon / O'Connor and Kilham / Hite Scholarship Winners
    • 1954-1955: New Works in the Collection / Feininger / Youth of Toulouse-Lautrec / The Brighton Pavilion / Marangoni Wood Engravings / Hite Scholarship Winners
    • 1955-1956: Edouard Pillet / New Works in the Collection / Mies near Louisville / Notebooks of Kraus / Rudolf Wilke / Drawings of Grosz / Kate Matthews / Hite Scholarship Winners
  14. "Lasansky and the Hayter Circle," Perspective 1 (1948): 159-162.
  15. "On Longfellow's Translation of a Michelangelo Sonnet," Philological Quarterly 27 (1948): 57-62.
  16. "Michelangelo's Drawings 'after Masaccio's Sagra,'" Gazette des Beaux-Arts 34, 6th ser. (1948): 389-404.
  17. "Ritrattistica apocrifa savoldesca," Arte Veneta 3 (1949): 103-110.
  18. "Three Translations from Michelangelo," Factotum 3 (1949): 18-20.

Books, Catalogues, and Articles: 1950s

  1. "Lucretia by Puligo," Burlington Magazine 92 (1950): 259-265.
  2. "Caravaggio, Ourselves, and the Notion of Realism," Southeastern College Art Conference Proceedings, 1951, 12-18.
  3. "Per i Savoldo visti dal Vasari," Studi Vasariani: Atti del Convegno 1950, (Florence: Sansoni, 1952), 146-152.
  4. "Degas and the Problem of Verifiable Excellence," Journal of Aesthetics and Art Criticism 10 (1952): 217-222.
  5. "Francesco Curradi e la tipologia del paesaggio nel seicento," Commentari 3 (1952): 135-145.
  6. "On Subject and Not-Subject in Italian Renaissance Pictures," Art Bulletin 34 (1952): 202-216. For French translation, see 195 below.
  7. "Un'opera capitale di Francesco Vecellio," Arte Veneta 6 (1952): 166.
  8. "Sante Zago e la cultura artistica del suo tempo," Arte Veneta 7 (1953): 121-129.
  9. "Savoldo's Drawings Put to Use," Gazette des Beaux-Arts 41, 6th ser. (1953): 5-26. Reprinted in Essays in Honor of Hans Tietze, (New York: Gazette des Beaux-Arts, 1958), 96-118.
  10. Translations of four poems of Michelangelo (and of two previously published, see 18 above) in: Lyric Poetry of the Italian Renaissance, ed. L. Lind, (New Haven: Yale University Press, 1954), 269, 271, 281.
  11. "The Understanding of Art on Campus," Proceedings of the 31st Annual Meeting of the Southern Association of Colleges for Women, 1954, 20-23.
  12. "Alvise e Compagni," Scritti di Storia dell'arte in Onore di Lionello Venturi, (Rome: De Luca, 1956), 277-308.
  13. "A Drawing by Catena," Burlington Magazine 98 (1956): 273.
  14. Paintings by Raphael, Metropolitan Museum of Art Miniatures, (New York: Book-of-the-Month Club, 1956), 26pp.
  15. "The Works of Girolamo Savoldo," Dissertation Abstracts 16 (1956): 516. Reprinted in Marsyas 7 (1957): 77.
  16. Co-translator: W. Friedlaender, Two Essays on Mannerism, (New York: Columbia University Press, 1957), often reprinted.
  17. Drawings of the Italian Renaissance from the Scholz Collection, (with the collaboration of seven students), (Bloomington, IN: University Arts Center, 1958), 31pp.
  18. "Domenico Fetti's St. Dominic and the Devil," Bulletin: John Herron Art Institute 45 (1958): 24-29.
  19. "A Rating for U. S. Art Museums," College Art Journal 17 (1958): 392-403.
  20. "Italian Paintings at St. Meinrad Archabbey," Gazette des Beaux-Arts 52, 6th ser. (1958): 355-368.
  21. "The Archbishop on the Painters of Florence," Art Bulletin 41 (1959): 75-87.
  22. "Rediscovering the Renaissance," Arts 33 (January 1959): 24-29. Reprinted in The Best in Arts, (New York, 1962), 51-56, with new title, "Rediscovering the Renaissance Craftsman"; broadcast, United States Information Service, Rome, no. 554, RAI, 17 June 1960, in Italian, as "Riflessioni sulle arti decorative del Rinascimento italiano."
  23. "Portraits by and near Romanino," Arte Lombarda 4 (1959): 261-267.
  24. The Asolo Theater, (Sarasota, FL: John and Mable Ringling Museum of Art, 1959), 32 pp.

Books, Catalogues, and Articles: 1960s

  1. Figures at a Table, exhibition catalogue, Ringling Museums Bulletin 1 (1960): no. 1, 32 pp.
  2. "Problemi della documentazione bresciana per il Savoldo," Commentari dell'ateneo di Brescia per il 1959 158 (1960): 49-65.
  3. Introduction and Notes on the Works in: Greenville Arts Center Inaugural Loan Exhibition, Greenville, NC, 1960, 4, 5, 12, 21, 37, 47.
  4. Entries: 'Raffaello dal Colle,' 'Bartolomeo Veneto,' Encyclopedia Britannica, (1960), 6:15, 23:51.
  5. Entries: 'Bellini,' 'Cimabue,' 'Correggio,' 'del Sarto,' 'Fra Angelico,' 'Ghirlandaio,' 'Giorgione,' 'Lippi,' 'Michelangelo,' 'Uccello,' World Book Encyclopedia, (Chicago, 1960), 2:191; 3:429, 852; 4:102; 6:381; 7:166, 176; 11:303; 12:398-401; 18:2.
  6. "A Florentine Baroque Painting," Bulletin: John Herron Art Institute 47 (1960): 55-60.
  7. Note on the artist in folder for exhibition of Vernon Voelz, St. Armands Gallery, Sarasota, FL, March 1960.
  8. Monthly column, "The Classics," in Arts
    34 (1960):

    • April, "On Launching a Column," 17
    • May, "Pierino del Vaga," 15, 71.
    • June, "Berenson," 15, 65
    • September, "New Acquisitions," 16-17.

    35 (1960):

    • October, "What People Have Time For," 18-19.
    • November, "Local and Eclectic Museums," 15-17.
    • December, "Berlin, East and West," 16-19.

    35 (1961):

    • February, "The Cleveland Zurbaran," 12-13.
    • March, "The College Art Association," 16-17.
    • April, "Six Recent Works," 16-17, 67.
  9. "Madrigals of Michelangelo, translated with an introduction," Arts Yearbook 4 (1961): 177-191. (For reprint: see 69)
  10. Baroque Painters of Naples, exhibition catalogue, Ringling Museums Bulletin 2 (1961): 64 pp.
  11. "Tintoretto and Michelangelo's St. Damian," Burlington Magazine 103 (1961): 16-20. (For reprint: see 194, pp. 285-292)
  12. "A Sarasota Notebook," Arte Veneta 15 (1961): 33-45. (three studies, the second reprinted in 193, pp. 275-284)
  13. "The Old Italian Form," Arts 35 (January 1961): 29-34.
  14. "Going to Italy," Arts 35 (June 1961): 37-43.
  15. "Venice: Temporary Imports," Arts 35 (September 1961): 42-46.
  16. "The Man Who Asks About Ideas [Erwin Panofsky]," Arts 36 (October 1961): 62-63.
  17. "The XX Congress," Arts 36 (November 1961): 64-66.
  18. "Museum Paintings: How Much Information," Arts 36 (December 1961): 66-68.
  19. "The Mantegna Exhibition," Burlington Magazine 104 (1962): 5-9; Letter, 104 (1962): 164-65.
  20. "The Earliest Work of Pordenone," Arte Veneta 16 (1962): 152-154.
  21. "More Metropolitan Masterpieces," Arts 36 (January 1962): 60-62.
  22. "Lionello Venturi," Arts 36 (February 1962): 58-60. (reprinted in Da Cézanne all'arte astratta, Omaggio a Lionello Venturi, Milan, 1992, 2-5.
  23. "One Artist Only," Arts 36 (April 1962): 36-38, 79.
  24. "The Art Historian's Reader's Digest," Arts 36 (May-June 1962): 30-31, 36.
  25. "A Winnowing of Exhibitions," Arts 36 (September 1962): 56-61.
  26. "All the Paintings of Everybody," Arts 37 (November 1962): 54-55, 74-75.
  27. Complete Poems and Selected Letters of Michelangelo, translated with a foreword and notes, (New York: Random House, 1963), 317 pp.
    • Revised edition, (New York, Modern Library, 1965).
    • Paperback reprint, (New York, Vintage Books, 1970).
    • British paperback imprint, (London, Wildwood House, 1973).
    • Third edition, (Princeton: Princeton University Press, 1980).
    • Reprint of foreword in W. Wallace, ed., Michelangelo: Selected Scholarship in English,( New York, Garland, 1995), 5:137-152. The translations here were revised after the publications above in 2, 10, 11, 18, 28, but not 51.
  28. "Su Paolo da Caylina il Vecchio," Commentari dell'Ateneo di Brescia per il 1961 160 (1963): 203-217.
  29. "The Museum Educates, if—," Southeastern Museum Notes (Winter 1963): 2-7.
  30. Major Masters of the Renaissance, a loan exhibition of the Poses Institute of Fine Arts, Rose Art Museum, (Waltham, MA: Brandeis University, 1963), 28 pp.
  31. "The Baroque in Genoa," Arts 37 (January 1963): 56-60; broadcast, United States Information Service, Rome, no. 706, RAI, 26 February 1964, in Italian, as "La scuola pittorica genovese."
  32. "The Style in Speeches," Arts 37 (March 1963): 46-47, 75.
  33. "Old Master Drawings, Beauty and Status," Arts 37 (May-June 1963): 78-81.
  34. "Renaissance Art: City and Country," Arts 37 (September 1963): 12-17.
  35. Entries: 'Badalocchio,' 'Barbari, Jacopo de,' Dizionario biografico degli italiani 5 (1963): 66; 6 (1964) 44-46.
  36. "Artists in Genoa," Arts and Sciences 64, New York University (27 January 1964): 6-13.
  37. "Masters and their Themes," Arts 38 (March 1964): 72-73.
  38. "Los Angeles: Art Historians Eating Lotuses," Arts 39 (March 1965): 80-81.
  39. "The Sequence of Execution in the Arena Chapel," Essays in Honor of Walter Friedlaender, (New York: Institute of Fine Arts, New York University, 1965), 80-86.
  40. "A Miracle by Raphael," North Carolina Museum of Art Bulletin 6 (1965): 3-35.
  41. "The Teaching Program in Art at Brandeis," in exhibition catalogue Brandeis at the Palm Beaches, (West Palm Beach, FL: Norton Gallery, 1965), 7-8.
  42. "Art on the Campus: the Spingold Collection," Theater and the University, (Waltham, MA: Brandeis University, 1965), 58-62.
  43. 17th-Century Paintings from the Low Countries, exhibition catalogue, Rose Art Museum, (Waltham, MA: Brandeis University, 1966), 59 pp. (Hard cover edition, New York: October House, 1966).
  44. "Florentine Painters and the Origins of Modern Science," Arte in Europa: Scritti di Storia dell'arte in Onore di Edoardo Arslan, (Milan, 1966), 333-340.
  45. Entry: "Lotto," Collier's Encyclopedia (1966), 15:17-18
  46. Michelangelo, (New York: McGraw-Hill, 1967), 48 pp. (Essay, 5-34; Commentary on the Slides, 37-48. For reprint of essay: see 194, pp. 19-56)
  47. "When did a Man in the Renaissance Grow Old?" Studies in the Renaissance 14 (1967): 7-32.
  48. Change in Piero della Francesca, published for the Institute of Fine Arts, New York University, (Locust Valley, NY: J. J. Augustin, 1968), 116 pp.
  49. "Two Composition Drawings by Bergognone," Master Drawings 6 (1968): 3-20.
  50. "The Earliest Guide to Florentine Architecture, 1423," Mitteilungen des Kunsthistorischen Instituts in Florenz 14 (1969): 33-46.
  51. "The Drawings now Associated with Masaccio's Sagra," Storia dell'arte 1 (1969): 260-278; Discussion: "La Sagra di Masaccio: note sui disegni ad essa connessi," Arte Illustrata 4 (1971): 76-77.)
  52. Entries, McGraw-Hill Dictionary of Art, New York, 1969. Italian translation, Dizionario dell'arte e degli artisti, (Milan: Mondadori, 1970).

Books, Catalogues, and Articles: 1970s

  1. Renaissance Art, edited with introduction and editorial notes, (New York: Harper Torchbooks, 1970), 247 pp. (reissued, Icon Edition, 1973)
  2. "The Dedication of the Brancacci Chapel," Abstracts of Papers Delivered at Art History Sessions, Chicago, (College Art Association, 1971), 21.
  3. "Piero della Francesca's Flagellation: the Figures in the Foreground," Art Bulletin 53 (1971): 41-51; For French translation, see 194 below, pp. 39-55
  4. 'Masaccio,' 'Michelangelo,' in: Atlantic Brief Lives: A Biographical Companion to the Arts, ed. L. Kronenberger, (Boston: Little Brown, 1971), 503-4, 523-25. (also in paperback edition)
  5. "La presenza a Venezia di Nanni di Bartolo il Rosso," Studi di Storia dell'arte in Onore di Antonio Morassi, 1971, 35-39.
  6. "Texts and Contexts of the Medici Chapel," Art Quarterly 34 (1971): 391-409. (for reprint, see 179, pp. 227-248. Reprinted also in W. Wallace, ed., Michelangelo: Selected Scholarship in English, (New York, Garland, 1995), 3:103-121.)
  7. "L'ordine cronologica degli affreschi Bardi e Peruzzi," Bollettino d'Arte 53 (1968, issued 1972): 192-197. (author's summary in RILA, Demonstration Issue, 1973, no .349)
  8. Entries on the Italian painters of the era and on their reproduced works in: J. Bialostocki, ed., Spätmittelalter und Beginnende Neuzeit (=Propyläen Kunstgeschichte 7): "Dokumentation: Kommentare, Kurzbiographien, Bildererläuterungen, Wand- Tafel- und Buchmalerei," (Berlin: Propyläen Verlag, 1972), 215-239.
  9. History of Renaissance Art: Painting, Sculpture, Architecture throughout Europe, (New York: Harry N. Abrams, 1972), 460 pp.
  10. Entry: 'Iconography and Iconology,' American Peoples Encyclopedia, (New York: Grolier, 1972), 10:123-124.
  11. Entries: 'Andrea del Castagno,' 'Botticelli,' 'Leonardo da Vinci,' 'Masaccio,' 'Michelangelo,' 'Parmigianino,' 'Pontormo,' 'Uccello,' Encyclopedia of World Biography, (New York: McGraw Hill, 1973), 1:180-181, 2:101-103, 6:437-442, 7:239-241, 390-395, 8:291, 524-525, 11:49-50.
  12. "Last Suppers and their Refectories," in: The Pursuit of Holiness in Late Medieval and Renaissance Religion: Papers for the University of Michigan Conference, ed. C. Trinkhaus with H. Oberman, (Leiden: Brill, 1973), 371-402.
  13. "Cecco d'Ascoli e la pittura di Giotto," Commentari 24 (1973): 19-25. (for reprint: see 179, pp. 33-46)
  14. "Bartolommeo Veneto and his Portrait of a Lady," Bulletin: The National Gallery of Canada 22 (1973): 4-16.
  15. "'The Egg Reopened' Again," Art Bulletin 56 (1974): 252-258. For French translation, see 194 below, pp. 57-72.
  16. "Art Historical Period Terms as a Lens for Looking at Dante," Art Studies for an Editor: 25 Essays in Memory of Milton J. Fox, (New York: Harry N. Abrams, 1975), 85-97. (for reprint: see 179, pp. 17-32)
  17. "Fra Angelico's Fresco Cycles in Rome: their Number and Dates," Zeitschrift für Kunstgeschichte 38 (1975): 245-265.
  18. Entry: 'Leonardo da Vinci,' World Book Encyclopedia, (Chicago, 1976), 5:39-41.
  19. "Why Still Life Painting: a Quattrocento Answer," Abstracts of Papers Delivered in Art History Sessions, 64th Annual Meeting, (College Art Association, 1976), 86.
  20. "The Fresco by Giotto in Milan," Arte Lombarda 47/48 (1977): 31-72. (for reprint: see 179, pp. 17-32)
  21. Response to Questionnaire, Art News 76 (November 1977): 109-110, 112.
  22. "Peintres et Menuisiers au début de la Renaissance en Italie," Revue de l'art 37 (1977): 2-28.
  23. "The Patron of Starnina's Frescoes," Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss, (New York University Press, 1977), 185-191.
  24. "The Usefulness of Comparisons between the Parts and the Set: The Case of the Cappella Paolina," XXIII Congreso Internacional de Historia del Arte: Actos, (Granada, 1978), 3:519-531. Summary, earlier, Ponencias y Comunicaciones, Granada, 1973, 227. Reprinted in W. Wallace, ed., Michelangelo: Selected Scholarship in English, (New York, Garland, 1995), 4:117-129.
  25. Entry: 'Fra Angelico,' Theologische Realenzyklopedie 2 (1978): 710-713.
  26. "The Smallest Problem in Florentine Iconography," in Essays Presented to Myron P. Gilmore, (Florence, Nuova Italia, 1978), 2:193-205.
  27. "Bonifacio and Bassano, ca. 1533," Arte Veneta 32 (1978): 127-133.
  28. "The Shares of Patron, Advisor and Artist in Devising Quattrocento Symbolic Images," Abstracts of Papers Delivered in Art History Sessions, 67th Annual Meeting, (College Art Association, 1979), 48.
  29. Dutch Drawings of the Seventeenth Century from a Collection, exhibition catalogue, with the collaboration of seven students, (Ithaca NY: Johnson Museum, Cornell University,1979), 73 pp.

Books, Catalogues, and Articles: 1980s

  1. Italian Art 1400-1500: Sources and Documents, (Engelwood Cliffs: Prentice Hall, 1980), 226 pp. For other editions with added material, see 167, 181.
  2. Reply to questionnaire, "What Makes a Masterpiece," Art News 79:3 (March 1980): 130.
  3. "Some Findings on Early Works of Titian," Art Bulletin 62 (1980): 36-75. (first section, pp. 36-52, reprinted in 193, pp. 151-190)
  4. "Simone Martini's Annunciation," Art News 79:3 (May 1980): 130-131.
  5. "The Pelican History of Art," Journal of the Society of Architectural Historians 39 (1980): 150-151.
  6. "On the Absolute Dates of the Parts of the Sistine Ceiling," Art History 3 (1980): 158-181.
  7. "Inside the Art Bulletin," CAA Newsletter 6:1 (April 1981): 12.
  8. "Liberale da Verona's Picture of the North," Ars Auro Prior, Warsaw, 1981, 217-221.
  9. "Michelangelo's Poetry: The Private Art of a Public Person," Essays on the Music of J. S. Bach and Other Divers Subjects: A Tribute to Gerhard Herz, (University of Louisville, 1981), 69-83. (for reprint: see 179, pp. 261-283)
  10. "The Popes' Art, Out on Loan," New Criterion 1:8 (April 1983): 1-6.
  11. "Holbein's Visit to America," New Criterion 2:1 (September 1983): 67-70.
  12. Entries on G. G. Savoldo and on the exhibited paintings by him, in The Genius of Venice 1500-1600, exhibition catalogue, (London: Royal Academy, 1983), 202-206.
  13. "Bramante on the Road to Rome, with some Leonardo Sketches in his Pocket," Arte Lombarda 66 (1983): 5-14.
  14. "The Resurrection of the Last Supper," New Criterion 2:7 (March 1984): 45-49.
  15. "The Art inside the Book," New Criterion 2:10 (June 1984): 65-68.
  16. "The Conversion of Fra Angelico," Scritti di Storia dell'arte in Onore di Roberto Salvini, (Florence, Sansoni, 1984), 281-287.
  17. "Ferrara at Matthiesen," Burlington Magazine 126 (1984): 584-585.
  18. "Edgar Wind as Man and Thinker," New Criterion 3:2 (October 1984): 36-41.
  19. Entry: "Cosimo Tura," Dizionario biografico degli italiani 30 (1984): 25-30.
  20. "Tuscan Observants and Painters in Venice, ca. 1400," Interpretazioni veneziane, (Venice: Arsenale, 1984), 109-120.
  21. "Tesi di Laurea in Storia dell'arte italiana dalle università austriache, inglesi, olandesi, statunitensi, svizzere e tedesche (1945-1975)," Arte Lombarda 70/71 (1984): 5-24.
  22. "The Small-Scale Paintings of Cavallino," New Criterion 3:6 (February1985): 66-69.
  23. "Caravaggio and all the others," New Criterion 3:8 (April 1985): 56-60.
  24. "A Sign about Signing in a Fresco by Fra Angelico," Tribute to Lotte Brand Philip, (New York: Abaris, 1985), 64-70.
  25. "Lo stile nelle firme del Savoldo," Giovanni Girolamo Savoldo: Atti del Convegno 1983, (Brescia-Moretto, 1985), 21-28.
  26. "Osservazioni sulla pala di S. Maria in Organo attribuita a Gian Girolamo Savoldo," Giovanni Girolamo Savoldo: Atti del Convegno 1983, (Brescia-Moretto, 1985), 81-83.
  27. "Osservazioni alla relazione di Francesco Rossi," Giovanni Girolamo Savoldo: Atti del Convegno 1983, (Brescia-Moretto, 1985), 109-112.
  28. "Donatello as Curator's Choice," New Criterion 4:5 (January 1986): 52-56.
  29. The Works of Girolamo Savoldo: the 1955 Dissertation with a Review of Research 1955-1985, Outstanding Dissertations in the Fine Arts series, (New York-London: Garland Publishing, 1986), 483pp.
  30. "Signorelli and Young Raphael," Raphael before Rome (Studies in the History of Art 17), (Washington, DC, National Gallery of Art, 1986), 109-124.
  31. "Frits Lugt: A Life in Looking," New Criterion 5:1 (September 1986): 29-33. (Italian translation, "Collezionisti: Frits Lugt," Giornale dell'arte 6:60 (October 1988): 114-117.)
  32. "A Statement of the Aesthetic Attitude around 1230," Hebrew University Studies in Literature and the Arts 13 (1985): 125-152.
  33. "Little Bronzes from Vienna," New Criterion 5:3 (November 1986): 62-66.
  34. "High Art from the Desert," New Criterion 5:5 (January 1987) 54 – 59.
  35. "Are the Ten Tapestries a Complete Series or a Fragment?" Studi su Raffaello, (Urbino, Quattro Venti, 1987), 533-550. (summary, earlier, "La serie dei dieci arazzi è completa o no?" Congresso internazionale di studi su Raffaello, (Urbino-Florence, 1984), 5pp.)
  36. "An Addition to Lorenzo d'Alessandro da San Severino," Yale University Art Gallery Bulletin 40 (1987): 20-25.
  37. "In Correggio Country," New Criterion 5:9 (May 1987): 53-58.
  38. "Zurbaran, for the Most Part," New Criterion 6:4 (December 1987): 57-62.
  39. "Boccaccio Looking at Actual Frescoes," in: The Documented Image: Visions in Art History, (Syracuse, NY: Syracuse University Press, 1987), 225-242. (for reprint: see 179, pp. 167-196.
  40. "The Rosso Exhibition, or, Difficulty Partly Overcome," New Criterion 6:6 (February 1988): 38-42.
  41. Entry, 'Michelangelo,' New Encyclopedia Britannica: Macropedia, (1988), 24:55-60.
  42. "Just a Glimpse of Giovanni Pisano," New Criterion 6:8 (April 1988): 53-57.
  43. "A Fresh View of Young Poussin," New Criterion 7:4 (December 1988): 35-40.
  44. L'arte del Quattrocento nelle testimonianze coeve, (Florence-Vienna, IRSA, 1988), 249pp. Italian translation of 123, enlarged with new preface (pp. 11-12) and more texts, nos. 23 (p. 55), 25 (pp. 56-57), 36 (p. 70-71), 39 (pp. 101-102), 51 (pp. 131-133), 76 (p. 168), 80 (. 169), 113 (pp. 218-2190, 121 (pp. 231-232).
  45. "Recent Discoveries," proposal for a session, Announcement and Call for Participation, Art History Sessions, 1989 Annual Meeting, (New York: College Art Association, 1988), 11; Introduction to the Session, Abstracts and Program Statements, 77th Annual Meeting of the College Art Association, (San Francisco, 1989), 230.
  46. "Sienese Storytellers," New Criterion 7:8 (April 1989): 45-52.
  47. "On Castagno's Nine Famous Men and Women: Sword and Book as the Basis for Public Service," in: Life and Death in Fifteenth Century Florence, (Durham: Duke University Press, 1989), 174-192, 242-246. (for reprint: see 179, pp. 197-223)
  48. "Caravaggio's Birthday," Arte Lombarda 90/91 (1989): 192-193.

Books, Catalogues, and Articles: 1990s

  1. "Savoldo Cortese," in: Giovanni Gerolamo Savoldo tra Foppa, Giorgione e Caravaggio, (Milan: Electa, 1990), 38-47. Translation as "Savoldo, ein höfischer Maler," in German edition of the catalogue, pp. 58-61.
  2. "Add One Caravaggio," New Criterion 8:9 (May 1990): 58-61.
  3. "Some Special Images for the Carmelites, circa 1330-1430," Christianity and the Renaissance, (Syracuse, NY: Syracuse University Press, 1990), 161-207.
  4. "Saint Antonin de Florence et l'art: Theologie pastorale, administration et commande d'oeuvres," Revue de l'art 90 (1990): 9-20.
  5. A New Sight in 1500: the Colossal," Art and Pageantry in the Renaissance and Baroque, (University Park, PA: Pennsylvania State University Press, 1990), 2: 396-415. (For reprint: see 194, pp. 227-249)
  6. "Titian's Daily Practice," New Criterion 9:5 (January 1991): 37-43.
  7. "Newly Discovered Paintings by Savoldo in Relation to their Patronage," Arte Lombarda 96/97 (1991): 29-46.
  8. Poets Seeing Artists' Work: Instances in the Italian Renaissance, (Florence: Leo S. Olschki, 1991), 293pp. (Foreword, pp. 7-11; "Boccaccio's Devotion to Artists and Art," pp. 49-65; reprints of 2, 100, 107, 110, 114, 132, 161 (revised), and 169 (revised), pp. 17-46, 67-283)
  9. "Several of the Contexts of Savoldo's Dead Christ," Bulletin of the Cleveland Museum of Art 79:1 (January 1992): 16-35.
  10. "Preface" to reprint edition of no. 123, (Evanston: Northwestern University Press, 1992), xii-xiii.
  11. "A Celebrated Age," New Criterion 10:5 (January 1992): 45-48.
  12. "The Distance of Mantegna" New Criterion 11:2 (October 1992): 47-52.
  13. "'Un viso quasichè di furia,'" Michelangelo Drawings (Studies in the History of Art 33), (Washington, DC: Center for Advanced Study in the Visual Arts, 1992), 213-225. (For reprint: see 194, pp. 253-273)
  14. Introduction, Session "New Enquiries in Italian Art," Abstracts and Program Statements 1993, (College Art Association, 1993), 312.
  15. "Nascita e Crescita di un polittico," in: Piero della Francesca: il polittico di Sant'Antonio, (Perugia: Electa, 1993), 79-88.
  16. "Art the Quattrocento Fashioned," New Criterion 12:3 (November 1993): 41-45.
  17. "Grapes, Curtains, Human Beings: the Theory of Missed Mimesis," Künstlerischer Austausch: Akten des XXVIII Kongresses für Kunstgeschichte, Berlin, 1992, (Berlin: Akademie Verlag, 1993), 413-422.
  18. "Saint Jerome and his Partridge," Konsthistorisk Tidskrift 62:1 (1993): 47.
  19. "The Function of the Barberini Panels," in Studi per Pietro Zampetti, (Ancona, Lavoro Editoriale, 1993), 146-152.
  20. "Caravaggio's Other Cardinal," Arte Lombarda 105/6/7 (1993): 139-142.
  21. "Editorial Ruminations," Art Bulletin 76 (1994): 204-206.
  22. "Il Flautista," in: Giovanni Gerolamo Savoldo: Ritratto di Gentiluomo col Flauto, (Brescia, 1994), 10-12.
  23. Michelangelo: On and Off the Sistine Ceiling, New York: Braziller, 1994, 293pp. (Preface, pp. 9-17; "The Proportion of Women," pp. 59-113; "The Ancestors," pp. 115-149; reprints of 53, part of 54, part of 88, part of 126, 129, 176, 183).
  24. Piero della Francesca et Giorgione: Problèmes d'Interpretation, (Paris: Montfort, 1994), 72pp. (quelques reflexions en guise de préface, pp. 9-18; translations of 24, 97, 108)
  25. "Savoldo, Cima, Parma and the Pio Family," Venezia Cinquecento 4:8 (1994): 113-125.
  26. Caravaggio and his Two Cardinals, (University Park, PA: Pennsylvania State University Press, 1995), 322pp.
  27. "Huldah Solves the Problem: Identifying the Mantegna Subject," Abstracts 1996, (College Art Association, New York), 269. (Same, full text, Apollo 143 (June 1996): 11-15)
  28. "Ghiberti on the Destruction of Art," I Tatti Studies 6 (1995, Florence, 1996): 135-144.
  29. Entries 'Giotto,' 'Savoldo,' 'Griselda Master,' 'Signorelli,' 'Padua: Arena Chapel,' in The Dictionary of Art, (London, Grove, 1996), 12:681-696; 27:889-892; 20:684; 28:699-704; 23:756-757.
  30. "Michelangelo's Staircase Sketch: New Light on an Old Problem," Apollo 144 (October 1996): 3-6.
  31. "Piero at Work for the Confraternity of Mercy," Citta e Corte nell'Italia di Piero della Francesca: Atti del Convegno Internazionale di Studi, 1992, (Venice, 1996), 69-84.
  32. "La libreria dell'arcidiacono Alberi," in La Cappella Nova o di San Brizio nel Duomo di Orvieto, ed. G. Testa, (Milan, 1996), 306-319.
  33. "Pius II, The Earliest Publicist of the Art of His Native Siena," Biuletyn Historii Sztuki 59:3/4, (1997), 189-195.
  34. "Ambrogio Lorenzetti's Charitable Appeal," Yale University Art Gallery Bulletin (1997): 31-40.
  35. "The Vasari Art Collection," in P. Jacks, ed., Vasari's Florence, (Cambridge, 1998), 137-142, 279-280.
  36. "The Two Italian Pupils of Rogier van der Weyden: Angelo Macagnino and Zanetto Bugatto," Arte Lombarda 122:1 (1998): 5-18.
  37. "What Did the Renaissance Patron Buy?" Renaissance Quarterly 51:2 (Summer 1998), 392-450.
  38. "An observer of charms & hurts: Dosso of Ferrara," New Criterion 17:8 (April 1999): 51-58.
  39. "Melozzo: His Status, His Drawings," Studi Angiola Maria Romanini (1999) 1043-1050.

Books, Catalogues, and Articles: 2000s

  1. "Angelico's Dancers," Italian Quarterly 37 (2000), 165-171.
  2. "The Function of the Barberini Panels: addenda," Critica d'arte 63:6 (2000), 24-30.
  3. "Preface to signatures (with some cases in Venice)," Fashioning Identities in Renaissance Art, (2000), 79-90.
  4. "The Pisa Baptistery Pulpit Addresses Its Public," Artibus et Historiae 21:41 (2000), pp. 9-30.
  5. "The 'Hercules' in Piero's House," Artibus et Historiae 23:45 (2002), 107-116.
  6. How Fra Angelico and Signorelli Saw the End of the World, (University Park, PA: Pennsylvania State University Press, 2002), 200pp.
  7. "What Is Expressed in Michelangelo's 'Non-Finito'?" Artibus et Historiae 24:48 (2003), 57-64.
  8. "Personages in Giotto without Physical Bodies," Arte Medievale 2 (2003), 101-106.
  9. "A Formula in Classical Imagery and a Michelangelo Debate," Res publica litterarum 26 (2003), 80-92.
  10. "Benozzo's Graphic Arguments for the Honor of Painters," Benozzo Gozzoli, Viaggio attraverso un secolo (2003), 41-46.
  11. "Cellini's Other Medium: His Writings and Their Reception," Studies in the Decorative Arts 14:1 (Fall-Winter 2006-2007), 19-26.
  12. "The Spans of Time in the Brancacci Chapel," in Watching Art: Writings in Honor of James Beck, (Perugia: Todi, 2006), 151-158.
  13. "Alberti's Idea of Ideal Painting," Schifanoia 32/33 (2007), 125-130.
  14. "The Original Assembly of Donatello's Padua Altar," Artibus et Historiae 28:55 (2007), 11-22.

Reviews: 1940s

  1. Magazine of Art 39 (1946): 28-32.
    • L. Venture, Painting and Painters
    • R. Guggenheimer, Sight and Insight
    • C. Ducasse, Art, The Critics and You
    • W. Gaunt, The Aesthetic Adventure
  2. Magazine of Art 39 (1946): 41-42
    • R. Goldwater and M. Treves, Artists on Art
    • M. Hartley, Collected Poems
  3. Magazine of Art 40 (1947): 41-42
    • A. Blunt, French Drawings at Windsor Castle
    • U. Middeldorf, Raphael Drawings
  4. P. Hendy, Giovanni Bellini, Magazine of Art 41 (1948): 150.
  5. E. Wind, The Feast of the Gods, Magazine of Art 42 (1949): 150
  6. C. de Tolnay, Michelangelo II, Journal of Aesthetics and Art Criticism 7 (1949): 256-259.
  7. C. Slatkin and R. Schoolman, Treasury of American Drawings, Journal of Aesthetics and Art Criticism 8 (1949): 132.
  8. C. de Tolnay, Michelangelo III, Magazine of Art 42 (1949): 313-314.

Reviews: 1950s

  1. G. Bazin, Fra Angelico, Journal of Aesthetics and Art Criticism 9 (1950): 63.
  2. R. Ironsides, Pre-Raphaelite Painters, Kenyon Review 12 (1950): 177-178.
  3. Journal of Aesthetics and Art Criticism 10 (1952): 217-222
    A. Chastel, Florentine Drawings
    C. Diehl, Drawing in France
    A. Carlisle, English Drawings
  4. H. Hatzfeld, Literature through Art, Romanic Review 43 (1953): 309-312
  5. C. de Tolnay, Michelangelo IV, Journal of Aesthetics and Art Criticism 13 (1955): 540-541.
  6. H. Frankfort, Art and Architecture of the Ancient Orient, Journal of Aesthetics and Art Criticism 14 (1956): 388-390.
  7. W. Sypher, Four Stages of Renaissance Style, Journal of Aesthetics and Art Criticism 14 (1956): 394-395.
  8. L. Heydenreich, Leonardo da Vinci, Journal of Aesthetics and Art Criticism 14 (1956): 507-508.
  9. E. Standen, Italian Painting, College Art Journal 17 (1957): 90-91.
  10. Journal of Aesthetics and Art Criticism 15 (1957): 188-189.
    L. Alberti, On Painting, trans. Spencer
    Leonardo da Vinci, On Painting, trans. MacMahon
  11. M. Meiss, Andrea Mantegna as Illuminator, College Art Journal 17 (1958): 434-436.
  12. H. Janson, Donatello, College Art Journal 18 (1958): 90-92.
  13. E. Ruhmer, Tura, Journal of Aesthetics and Art Criticism 17 (1959): 527.
  14. E. Wind, Pagan Mysteries in the Renaissance, Arts 33 (June 1959): 14-15.
  15. J. Pope-Hennessy, Italian Renaissance Sculpture, Arts 33 (September 1959): 15-17.
  16. M. Levey, Painting in XVIIIth Century Venice, Arts 33 (October 1959): 17.
  17. F. Hartt, Giulio Romano, Renaissance News 12 (1959): 191-193.
  18. G. Rowley, Ambrogio Lorenzetti, Journal of Aesthetics and Art Criticism 18 (1959): 129-130.
  19. P. Zampetti, Jacopo Bassano, College Art Journal 19 (1959): 108-109.
  20. J. Rosenberg, Great Draughtsmen from Pisanello to Picasso, Arts 34 (December 1959): 17-18.

Reviews: 1960s

  1. A. Chastel, Art et Humanisme à Florence à l'époque de Laurent le Magnifique (="Florence as an Idea") Art News 58 (February 1960): 28, 58-59.
  2. E. Castelli, Umanesimo e Simbolisimo, Journal of Aesthetics and Art Criticism 18 (1960): 394-395.
  3. G. Passavant, Andrea Verrocchio als Maler, College Art Journal 20 (1960): 58-60.
  4. L. Dussler, Die Zeichnungen des Michelangelo, Art Journal 20 (1960/1961): 126-128.
  5. Journal of Aesthetics and Art Criticism 20:1 (1961): 111-112.
    • E. Lafuente Ferrari, Velazquez
    • E. Battisti, Giotto
  6. J. Tusiani, Michelangelo: The Complete Poems, Renaissance News 14:2 (1961): 118-121.
  7. E. DeWald, Italian Painting 1200-1600, Art Journal 21 (1961/1962): 136-140.
  8. M. L. Ferrari, Il Romanino (="Una monografia sul Romanino"), Arte Veneta 16 (1962): 199-202.
  9. S. Freedberg, Painting of the High Renaissance in Rome and Florence, Art Journal 16 (1962): 288-289.
  10. R. Clements, Michelangelo's Theory of Art, Art Bulletin 44 (1962): 347-355.
  11. D. Hay, The Italian Renaissance in its Historical Background, Arts 36 (March 1962): 74-75.
  12. W. Crelly, The Painting of Simon Vouet, Arts 37 (October 1962): 63-64.
  13. F. Haskell, Patrons and Painters, New York Review of Books 1 (17 October 1963): 11.
  14. G. Briganti, Pietro da Cortona, Arts 38 (November 1963): 70-71.
  15. P. Barocchi, ed., Trattati d'arte del Cinquecento II, Journal of Aesthetics and Art Criticism 21 (1963): 493-94.
  16. E. Waterhouse, Italian Baroque Painting, Arts 38 (February 1964): 69-70.
  17. Arts 38 (September 1964): 72-75.
    • J. Pope-Hennessy, Italian High Renaissance and Baroque Sculpture
    • Y. Hackenbroch, Bronzes in the Untermeyer Collection
  18. New York Review of Books 3 (20 August 1964): 16-17.
    • F. De Maffei, Michelangelo's Lost St. John
    • V. Mariani, Michelangelo the Painter
    • Letters to the Editor 3 (24 September 1964): 23; (8 October 1964): 26-27.
  19. C. de Tolnay, The Art and Thought of Michelangelo, New York Review of Books 3 (5 December 1964): 30-31.
  20. Art Bulletin 46 (1964): 247-251.
    • G. Vasari, La vita di Michelangelo, ed. P. Barocchi
    • The Letters of Michelangelo, trans. E. Ramsden
  21. S. Orlandi, Beato Angelico, Art Bulletin 47 (1965): 273-274.
  22. R. Clements, Michelangelo: A Self-Portrait, Art Journal 24 (1965): 296-300.
  23. E. Gombrich, Norm and Form, Book Week (11 December 1966) 2.
  24. L. Puppi, Bartolommeo Montagna, Art Bulletin 49 (1967): 184-188.
  25. J. Pope-Hennessy, The Portrait in the Renaissance, Burlington Magazine 110 (1968): 280-285.
  26. L. Berti, Masaccio, Journal of Aesthetics and Art Criticism 27 (1969): 465-466.

Reviews: 1970s

  1. P. Hendy, Piero della Francesca and the Early Renaissance, Journal of Aesthetics and Art Criticism 28 (1970): 397.
  2. F. Gibbons, Dosso and Battista Dossi, Journal of Aesthetics and Art Criticism 29 (1970): 140-142.
  3. Art Quarterly 33 (1970): 441-443.
    • G. Passavant, Verrocchio
    • J. Pope-Hennessy, Paolo Uccello
  4. L. Lotto, Libro di spese diverse, ed. P. Zampetti, Renaissance Quarterly 24 (1971): 71-73.
  5. Art Quarterly 33 (1972): 427-433.
    • M. Gosebruch et al., Giotto di Bondone
    • M. Trachtenberg, The Campanile of Florence Cathedral
    • M. Baxandall, Giotto and the Orators
  6. J. Sisson, A. Venturi, Storia dell'arte italiana: Index, Art Bulletin 58 (1976): 468-470.
  7. A. Melnikas, The Corpus of the Miniatures in the Manuscripts of the Decretum Gratiani, Art News 76 (February 1977): 103-104.
  8. W. Smith, ed., The Farnese Hours, Art News 76 (May 1977): 120.
  9. E. Gombrich, The Heritage of Apelles, Art News 76 (October 1977): 120.
  10. H. Belting, Die Oberkirche von San Francesco in Assisi, Speculum 54 (1979): 334-337.
  11. R. Lightbown, Sandro Botticelli, Art News 78 (May 1979): 35-36.
  12. R. Wittkower, Idea and Image, Art News 78 (November 1979): 27-28.

Reviews: 1980s

  1. J. Pope-Hennessy, Luca della Robbia, American Scholar 50 (1980): 115-118.
  2. A. Moir, Caravaggio, Art News 82 (December 1983): 35.
  3. C. Ginzburg, Indagini su Piero, Journal of Modern History 55 (1983): 754-756.
  4. R. Jones and N. Penny, Raphael, Renaissance Quarterly 37 (1984): 102-107.
  5. M. Haines, The Sagrestia delle Messe of Florence Cathedral, Burlington Magazine 226 (1984): 641.
  6. E. Jacobowitz and S. Stepanek, The Prints of Lucas van Leyden (="A Printmaker and his Themes"), New Criterion 3:4 (December 1984): 65-68.
  7. J. Bellini, The Louvre Album (="Bellini's Drawings"), New Criterion 4:1 (September 1985): 72-73.
  8. D. Wilson, intro., The Bayeux Tapestry (="From 1066 to Now"), New Criterion 4:8 (April 1986): 80-84.
  9. R. Hadley, ed., Letters of Bernard Berenson and Isabella Stewart Gardner, TLS 4458 (9 September 1988): 992.

Reviews: 1990s

  1. D. Summers, The Judgment of Sense, Speculum 65 (1990): 765-766.
  2. L. Battaglia Ricci, Ragionare nel Giardino: Boccaccio e i cicli pittorici del 'Trionfo della Morte', Studi sul Boccaccio 18 (1990): 411-414.
  3. L. Campbell, Renaissance Portraits, New Criterion 9:5 (February 1991): 67-71.
  4. E. Borsook and F. Superbi Gioffredi, eds., Italian Altarpieces 1250-1550, Speculum 71 (1996): 394-395.

Reviews: 2000s

  1. Claudia Bertling Biaggini, Lorenzo Lotto: Pictor Celeberimus, Renaissance Quarterly 60:1 (Spring 2007), 174-175.

Only Books

  • Complete Poems and Selected Letters of Michelangelo, translated with a foreword and notes, third edition, (Princeton: Princeton University Press, 1980), 317 pp.
  • Change in Piero della Francesca, (Locust Valley, NY: J. J. Augustin, 1968), 116 pp.
  • Renaissance Art, (New York: Icon Edition, 1973), 247 pp.
  • History of Renaissance Art: Painting, Sculpture, Architecture throughout Europe, (New York: Harry N. Abrams, 1972), 460 pp.
  • Italian Art 1400-1500: Sources and Documents, (Engelwood Cliffs: Prentice Hall, 1980), 226 pp.
  • The Works of Girolamo Savoldo: the 1955 Dissertation with a Review of Research 1955-1985, Outstanding Dissertations in the Fine Arts series, (New York-London: Garland Publishing, 1986), 483pp.
  • L'arte del Quattrocento nelle testimonianze coeve, (Florence-Vienna, IRSA, 1988), 249pp.
  • Poets Seeing Artists' Work: Instances in the Italian Renaissance, (Florence: Leo S. Olschki, 1991), 293pp.
  • Michelangelo: On and Off the Sistine Ceiling, New York: Braziller, 1994, 293pp.
  • Caravaggio and his Two Cardinals, (University Park, PA: Pennsylvania State University Press, 1995), 322pp.
  • How Fra Angelico and Signorelli Saw the End of the World, (University Park, PA: Pennsylvania State University Press, 2002), 200pp.
  • Lex Amoris: La legge dell'amore nell'interpretazione di Fra Angelico, (Ferrara: Università di Ferrara, 2005), 117 pp.

2 thoughts on “Creighton Gilbert – A non-selective chronological bibliography”

  1. What a great resource! Thanks for sharing. Next week, by coincidence, I've assigned my students to read Gilbert's article, "What Did the Renaissance Patron Buy?" I'm pleased that I can introduce my students to Gilbert's work during this time in which his life is being honored.

    Reply

  2. Very nice, Monica. I think folks have also gotten a lot of pedagogical mileage out of “When did a Man in the Renaissance Grow Old?” In fact, those questions seem connected!

    Reply

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