Visible, the book we’ve been waiting to see
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A glimpse at Visible, a new book
AWA and TF creates a catalog-style volume
On Friday, September 27, AWA’s upcoming publication goes to press. Published by The Florentine Press, Tuscany’s English-language publishing house, this catalog’s title will particularly strike AWA aficionados dedicated to salvaging women artists from oblivion. It’s called VISIBLE. Plautilla Nelli, who was a virtual unknown more than a dozen restorations ago, now comes into her own, as her 21-foot masterwork is finally on public view. Pre-restoration, its home was in the Friars’ private chambers at Santa Maria Novella, now it is VISIBLE in the museum complex. A publication that spotlights the various phases of our four-year restoration of Nelli’s Last Supper—readers can gain insight on Nelli’s life and times and discover her painterly style as well receive an overview of archival studies and recent discoveries made whilst the painting was ‘eye level’. Two of its essays (by Silvia Ciappi and Francesco Morena) focus on the dinnerware that adorns Nelli’s table. Her Last Supper is unique compared to the vast majority of its counterparts; she laid her table as if she wanted the Apostles to eat.
On Friday, September 27, AWA’s upcoming publication goes to press. Published by The Florentine Press, Tuscany’s English-language publishing house, this catalog’s title will particularly strike AWA aficionados dedicated to salvaging women artists from oblivion. It’s called VISIBLE. Plautilla Nelli, who was a virtual unknown more than a dozen restorations ago, now comes into her own, as her 21-foot masterwork is finally on public view. Pre-restoration, its home was in the Friars’ private chambers at Santa Maria Novella, now it is VISIBLE in the museum complex. A publication that spotlights the various phases of our four-year restoration of Nelli’s Last Supper—readers can gain insight on Nelli’s life and times and discover her painterly style as well receive an overview of archival studies and recent discoveries made whilst the painting was ‘eye level’. Two of its essays (by Silvia Ciappi and Francesco Morena) focus on the dinnerware that adorns Nelli’s table. Her Last Supper is unique compared to the vast majority of its counterparts; she laid her table as if she wanted the Apostles to eat.