Reviewers of a recent exhibition termed Federico Barocci (ca. 1533-1612), 'the greatest artist you've never heard of'. The central purpose of this volume is to accord this artist, the dates of whose career fall between the traditional Renaissance and Baroque periods, the critical attention he deserves. Employing a range of methodologies, the essays offer new insights into Barocci's work.

Judith W. Mann is Curator of European Art to 1800 at the Saint Louis Art Museum, USA.

Table of contents:

1. Introduction: New Insights into Barocci's Senigallia Entombment and Suggestions on his Late Workshop Practice

Babette Bohn and Judith Mann

2. From Altar to Hearth: Barocci and the Brancaleoni of Piobbico

Carol Plazzotta

3. Just what is it that makes Barocci's painting so different, so appealing?

Claudio Pizzorusso

4. Federico Barocci and the Artistic Legacy of his Homeland

Alessandra Giannotti

5. Federico Barocci and the Corpus of High Renaissance Art

Stuart Lingo

6. "Though this be madness, yet there is method in it:" Barocci's Design Process

Babette Bohn

7. Drawing the Virgin: Federico Barocci's Doctrine of the Virgin Mary

Judith W. Mann

8. "God Knows When He'll Finish": Barocci and the Art Market

Richard E. Spear

9. The Tip of the Iceberg: Barocci's Post Mortem Inventory and the Survival of Renaissance Drawings

David Eckserdjian