Frans Hals (1582/83-1666) is rightfully considered one of the most important seventeenth-century Dutch painters. His portraits are admired for their virtuoso brushwork and their seemingly spontaneous character. This volume, with fourteen contributions by twenty-six specialists on Hals’s paintings and his artistic network in Haarlem and beyond, presents a rich palette of new research. The authors introduce subjects such as the artist's clientele - from clergymen and fellow painters to governors of charitable institutions - as well as stylistic and technical aspects of individual paintings. Results of recent restorations are discussed, but also how advanced digital technologies contribute to our understanding of the painter's style and artistic development. A final section is dedicated to the rediscovery of Frans Hals in the second half of the nineteenth century and to the following art historical debate among connoisseurs about the artist’s oeuvre. Frans Hals: Iconography - Technique - Reputation is the first volume in the Frans Hals Studies book series and is richly illustrated with close to two hundred colour illustrations.

Sassetta, the subtle genius from Siena, revolutionized Italian painting with an altarpiece for the small Tuscan town of Borgo San Sepolcro in 1437–1444. Originally standing some six yards high, double-sided, with a splendid gilt frame over the main altar of the local Franciscan church, it was the Rolls Royce of early Renaissance painting. But its myriad figures and scenes tempted the collectors of the nineteenth and twentieth centuries, and today its disassembled panels can be found in twelve museums throughout Europe and the United States.

To produce this landmark volume, experts in art and general history, painting technique and conservation, woodworking, architecture, and liturgy have joined forces across the boundaries of eight different nations. A model of collaboration, it opens new windows onto the creative process of the artist as he confronted a late-medieval church at a crossroad of cultures, the miracle-working body of a holy man, and a community of Franciscan friars breathing the exhilarating air of reform. To confront such challenges, Sassetta raised the most spiritual school of early Italian art, the Sienese, to a higher level of understanding, grace, and splendor.