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For patricians in the Republic of Venice, paintings in manuscripts marking their appointment to high office expressed a tension between selfless service and individual ambition. Originally of value in confirming and instructing an elected officer, these unique documents were transformed through art into enduring monuments promoting state ideals, individual status, and family memory. This book introduces the reader to a long-hidden world of beautiful and complex images, and to tales of personal sacrifice, political maneuvering, and family intrigue. Analysis of these small paintings within books opens up new perspectives on canonical works by such artists as Giovanni Bellini, Titian, and Veronese, as well as on tomb sculptures and public memorials. Extensive original material on artistic patronage in Venice and its territories abroad encourages an expanded understanding of art in the service of the state and of Venice as empire.
Best known for his partnership with Raphael, the engraver Marcantonio Raimondi (c. 1480-c. 1534) enabled Renaissance artists to disseminate their designs in print, advancing a revolution in visual communication that still reverberates in our own information age. Yet Marcantonio did more than render compositions by famous artists in the novel medium of engraving. The entries and essays in this catalogue, written by a group of international scholars and published to accompany the first exhibition of Marcantonio's work in over three decades, reveal the diversity of Marcantonio's oeuvre and the scope of his innovation as the leading printmaker of the Italian Renaissance. In-depth studies of Marcantonio's engravings expand our knowledge of his collaboration with Raphael, while also probing Marcantonio's creative response to the dynamic humanist culture in his native Bologna and later in Venice and Rome. Contributions also examine engravings by Marcantonio's 'followers' and consider the importance of his work to the history of print collecting. -- .
Albrecht Durer (1471-1528) was hailed in his lifetime as a founder of the Northern Renaissance, and his work revolutionized the art of printmaking. Durer was also the first artist outside Italy to leave behind a large body of writing. Contemporaries and succeeding generations added their accounts of him to this documentary legacy. Jeffrey Ashcroft's new book provides the first English translation of the whole corpus of Durer's writings; the legal, financial, and administrative documentation of his life and work; and what others wrote about him during his life and in the following century. Translations of primary documents are accompanied by extensive commentary, providing Anglophone scholars access to German-language research. This unique combination of documentary evidence, current research, and exhaustive bibliography will doubtless become a definitive source for students and scholars of Durer and his work, as well as for historians of early modern culture, language, and literature.
A landmark survey and analysis of Italian Renaissance architecture
by an internationally renowned expert in the field.
Few Renaissance Venetians saw the New World with their own eyes. As the print capital of early modern Europe, however, Venice developed a unique relationship to the Americas. Venetian editors, mapmakers, translators, writers, and cosmographers represented the New World at times as a place that the city's mariners had discovered before the Spanish, a world linked to Marco Polo's China, or another version of Venice, especially in the case of Tenochtitlan. Elizabeth Horodowich explores these various and distinctive modes of imagining the New World, including Venetian rhetorics of 'firstness', similitude, othering, comparison, and simultaneity generated through forms of textual and visual pastiche that linked the wider world to the Venetian lagoon. These wide-ranging stances allowed Venetians to argue for their different but equivalent participation in the Age of Encounters. Whereas historians have traditionally focused on the Spanish conquest and colonization of the New World, and the Dutch and English mapping of it, they have ignored the wide circulation of Venetian Americana. Horodowich demonstrates how with their printed texts and maps, Venetian newsmongers embraced a fertile tension between the distant and the close. In doing so, they played a crucial yet heretofore unrecognized role in the invention of America.
Renaissance landscape, Italian Renaissance painting, ornament in Renaissance art, cultural history of green, the pastoral
Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example is based on 'The Vitruvian Man', c. 1492 by Leonardo da Vinci (1452-1519), and printed on silver.
In The Mirror, the Window, and the Telescope, Samuel Y. Edgerton brings fresh insight to a subject of perennial interest to the history of art and science in the West: the birth of linear perspective. Edgerton retells the fascinating story of how perspective emerged in early fifteenth-century Florence, growing out of an artistic and religious context in which devout Christians longed for divine presence in their daily lives. And yet, ironically, its discovery would have a profound effect not only on the history of art but on the history of science and technology, ultimately undermining the very medieval Christian cosmic view that gave rise to it in the first place.
Among Edgerton's cast of characters is Filippo Brunelleschi, who first demonstrated how a familiar object could be painted in a picture exactly as it appeared in a mirror reflection. Brunelleschi communicated the principles of this new perspective to his artist friends Donatello, Masaccio, Masolino, and Fra Angelico. But it was the humanist scholar Leon Battista Alberti who codified Brunelleschi's perspective rules into a simple formula that even mathematically disadvantaged artists could understand.
By looking through a window the geometric beauties of this world were revealed without the theological implications of a mirror reflection. Alberti's treatise, "On Painting," spread the new concept throughout Italy and transalpine Europe, even influencing later scientists including Galileo Galilei. In fact, it was Galileo's telescope, called at the time a "perspective tube," that revealed the earth to be not a mirror reflection of the heavens, as Brunelleschi had advocated, but just the other way around. Building on the knowledge he has accumulated over his distinguished career, Edgerton has written the definitive, up-to-date work on linear perspective, showing how this simple artistic tool did indeed change our present vision of the universe.
This book is an introduction to Italian Renaissance ceramics. These colourful and highly decorative wares form a distinctive and significant part of the artistic achievement of the period. The Fortnum collection in the Ashmolean Museum, Oxford, is outstanding in its quality and range. In this selection the author illustrates fine and characteristic pieces by leading artists in the major centres of production, including Florence, Siena and Urbino. The techniques and processes of Renaissance Maiolica are briefly discussed and the subject matter of each painted piece is related to the wider artistic culture of the time. 'Maiolica' serves as a scholarly presentation of the finest pieces from a major collection, while at the same time providing a valuable general introduction to this most vivid and culturally illuminating of the 'minor arts' of Renaissance Italy. It is an expanded and updated edition of the book first published in 1989, incorporating most recent additions to the Museum's collections.
One of the most influential scholars of the Renaissance, Pietro Bembo (1470-1547) gained fame not only for his literary theory and poetry, but for his incredible collection of art and antiquities. Drawing on anecdotes from Bembo's letters and unpublished archival material, Susan Nalezyty analyzes how Bembo's collection functioned as a source of inspiration for artists like Titian and writers like Giovanni della Casa. As visitors to the collection marveled at the quality and variety of the displayed objects, Bembo encouraged investigations into the ways in which contemporary art compared with ancient objects. Often straddling the line between the visual and literary worlds, these critical discussions catalyzed artistic experiments that led to new modes of creative expression. This generously illustrated volume brings Bembo's collection to life and reveals its key role in the development of Renaissance artistic philosophy and historical study of the classical past.
"My husband Jan finished me on 17 June 1439. . . . My age was 33 years." So speaks Margaret van Eyck from the frame of her portrait. This painted inscription honors its maker Jan van Eyck, even as it blurs the distinction between living subject and painted double. Frame Work, an in-depth study of paintings, sculpture, and manuscript illumination in their varied social settings, argues that frames and framing devices are central to how Renaissance images operate. In a period of rapid cultural change, framing began to secure the very notion of an independent "artwork," and reframings could regulate the meaning attached to works of art-a process that continues in the present day. Highlighting innovations in framing introduced by figures such as Donatello, Giovanni Bellini, and Jean Fouquet, this original book shows how the inventive character of Renaissance frames responds to broader sociopolitical and religious change. The frame emerges as a site of beauty, display, and persuasion, and as a mechanism of control.
The volume, starting from the celebrated and fascinating Portrait of a Lady from the Poldi Pezzoli museum in Milan, one of the greatest masterpieces of Florentine portraiture from the latter half of the 15th century, investigates the art of the Pollaiolo brothers: Antonio, a goldsmith, painter and sculptor, and the most famous of the three; Piero, a painter; and Silvestro, who died young and was soon forgotten. Based on in- depth scientific analyses and research conducted on the methods of execution and materials used for the wide range of different works issued from the Pollaiolo brothers' workshop, the volume presents paintings, drawings, engravings, sculptures, bronzes, and objects of applied art.
At the end of the fourteenth and into the first half of the fifteenth century Geoffrey Chaucer, John Gower, and John Lydgate translated and revised stories with long pedigrees in Latin, Italian, and French. Royals and gentry alike commissioned lavish manuscript copies of these works, copies whose images were integral to the rising prestige of English as a literary language. Yet despite the significance of these images, manuscript illuminators are seldom discussed in the major narratives of the development of English literary culture. The newly enlarged scale of English manuscript production generated a problem: namely, a need for new images. Not only did these images need to accompany narratives that often had no tradition of illustration, they also had to express novel concepts, including ones as foundational as the identity and suitable representation of an English poet. In devising this new corpus, manuscript artists harnessed visual allusion as a method to articulate central questions and provide at times conflicting answers regarding both literary and cultural authority. Sonja Drimmer traces how, just as the poets embraced intertexuality as a means of invention, so did illuminators devise new images through referential techniques-assembling, adapting, and combining images from a range of sources in order to answer the need for a new body of pictorial matter. Featuring more than one hundred illustrations, twenty-seven of them in color, The Art of Allusion is the first book devoted to the emergence of England's literary canon as a visual as well as a linguistic event.
Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. National Gallery: Bosschaert the Elder - 'Still life of Flowers in a Wan-Li Vase'.
Depicting the Creation of Woman presented a special problem for Renaissance artists. The medieval iconography of Eve rising half-formed from Adam's side was hardly compatible with their commitment to the naturalistic representation of the human figure. At the same time, the story of God constructing the first woman from a rib did not offer the kind of dignified, affective pictorial narrative that artists, patrons, and the public prized. Jack M. Greenstein takes this artistic problem as the point of departure for an iconographic study of this central theme of Christian culture. His book shows how the meaning changed along with the form when Lorenzo Ghiberti, Andrea Pisano, and other Italian sculptors of the fourteenth and fifteenth centuries revised the traditional composition to accommodate a naturalistically depicted Eve. At stake, Greenstein argues, is the role of the artist and the power of image-making in reshaping Renaissance culture and religious thought.
"Renaissance Art Reconsidered" showcases the aesthetic principles
and the workaday practices guiding daily life through these years
of extraordinary human achievement.
The deftness of da Vinci: The drawings of Art History's master genius One of the most accomplished human beings who ever lived, Leonardo da Vinci remains the quintessential Renaissance genius. Creator of the world s most famous paintings, this scientist, artist, philosopher, inventor, builder, and mechanic epitomized the great flowering of human consciousness that marks his era. Leonardo da Vinci The Graphic Work features top quality reproductions of 663 of Leonardo s drawings, from anatomical studies to architectural plans, from complex engineering designs to pudgy infant portraits. All of the drawings, more than half of which were provided by the Royal Collection at Windsor Castle, are presented in full-page format. Delve in and delight in the delicate finesse of one of the most talented minds, and hands, in history."
Eclecticism, selective imitation, Paleotti, Carracci, Malvasia
Although Raphael has long been recognized as one of the great innovators of visionary painting (images of supernatural phenomena, including apparitions and prophetic visions), the full measure of his achievement in this area has never been taken. Vision and the Visionary in Raphael redresses this oversight by offering an expansive reading of these works within their contemporary artistic and religious contexts. At the center of the book is Raphael's engagement with one of the critical conflicts in the Renaissance understanding of vision. Whereas artistic theory emphasized painting's engagement with the physical world by way of the bodily eyes, religious images were generally intended to inspire their viewers to move from sensible appearances to the use of their "spiritual eyes" for contemplation of their god. For Raphael and his contemporaries, this double commitment to physical appearances and the spiritual dimensions of the image presented one of the greatest challenges of Renaissance religious art.
John Marciari tells the story of the monuments, artists and patrons of Renaissance Rome in this compelling book. In no other city is the ancient world so palpably present, and nowhere else is the mission of the church so evident. At the same time as the humanists sought to preserve and recreate the ancient city, giving it a new lease of life, the popes dispensed patronage much as any other contemporary Italian ruler. By adopting a chronological structure, covering the period c.1300-1600, Marciari is able to explore the nature of Roman patronage as it differed from papacy to papacy. He examines the city's extraordinary works of art in the context of the working practices, competition and rivalries that made Renaissance Rome so magnificent.
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