Film, like the printed imagery inaugurated during the Renaissance, spread ideas - not least the idea of the power of visual art - across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, from the 1920s to the mid-1960s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, between the demands of narrative and those of visual composition, spurred new ways of addressing the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates are part of the story told here.

Europe Views the World examines the wide diversity of images that Europeans produced to represent the wide variety of peoples and places around the globe during and after the so-called 'Age of Exploration'. Beginning with the medieval imagery of Europe's imagined alien races, and with an emphasis on the artists of Northern Europe, Larry Silver takes the reader on a tour across continents, from the Americas to Africa and Asia. Encompassing works such as prints, paintings, maps, tapestries and sculptural objects, this book addresses the overall question of an emerging European self-definition through the evidence of visual culture, however biased, about the wider world in its component parts. Unique to this book, each chapter concludes with an 'in response', analysing representations of Europeans by indigenous peoples of each continent to give a deeper and more multi-faceted account of the impact of Europe's view of the world.

This collection embraces the increasing interest in the material world of the Renaissance and the early modern period, which has both fascinated contemporaries and initiated in recent years a distinguished historiography. The scholarship within is distinctive for engaging with the agentive qualities of matter, showing how affective dimensions in history connect with material history, and exploring the religious and cultural identity dimensions of the use of materials and artefacts. It thus aims to refocus our understanding of the meaning of the material world in this period by centring on the vibrancy of matter itself. To achieve this goal, the authors approach "the material" through four themes - glass, feathers, gold paints, and veils - in relation to specific individuals, material milieus, and interpretative communities. In examining these four types of materialities and object groups, which were attached to different sensory regimes and valorizations, this book charts how each underwent significant changes during this period.

Before reaching the tender age of 30, Michelangelo Buonarroti (1475-1564) had already sculpted Pieta and David, two of the most famous sculptures in the entire history of art. As a sculptor, painter, draftsman, and architect, the achievements of this Italian master are unique-no artist before or after him has ever produced such a vast, multifaceted, and wide-ranging oeuvre. This fresh TASCHEN edition traces Michelangelo's ascent to the cultural elite of the Renaissance. Ten richly illustrated chapters cover the artist's paintings, sculptures, and architecture, including a close analysis of the artist's tour de force frescoes in the Sistine Chapel.Full-page reproductions and enlarged details allow readers to appreciate the finest details in the artist's repertoire, while the book's biographical essay considers Michelangelo's more personal traits and circumstances, such as his solitary nature, his thirst for money and commissions, his immense wealth, and his skill as a property investor. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

This absorbing book explores the crown jewel of the Isabella Stewart Gardner Museum's collection of rare books and manuscripts: Jean Bourdichon's Boston Hours. As court artist to King Francois I of France, Bourdichon produced paintings, books and even parade floats for the sovereign and his entourage. This publication accompanies the museum's first ever exhibition dedicated to this spectacular illuminated manuscript. Painter to two kings, Jean Bourdichon remains today one of the most celebrated artists of the French Renaissance. By age twenty-four, he was already serving as "peintre du roy," a title which Bourdichon held for the rest of his life. His illustrious career at the French royal court led to a wide range of commissions - from portraits to wall maps to stained glass - but he is remembered principally for astonishing illuminated manuscripts. The peerless Grandes Heures for Queen Anne of Brittany remains the touchstone of this group which includes some of the most lavishly painted books of hours ever produced. One of these masterpieces - Bourdichon's Boston Hours - in the collection of the Isabella Stewart Gardner Museum is the subject of this book. Bourdichon's only intact book of hours in the United States was acquired by Isabella Stewart Gardner in 1890 and became the crown jewel of her collection of rare books and manuscripts. Leading scholars Nicholas Herman and Anne-Marie Eze explore its history in depth, shedding new light on the book's patronage and provenance - from the shelves of a wealthy Catholic landowner in Lincolnshire to the shop of a Venetian art and antiques dealer. This book is the latest in the Gardner's Close Up series, each installment focusing on an individual, outstanding work of art in the collection. This publication is the first dedicated to this rare treasure, and precedes an exhibition opening in summer 2022.

With a freshness and breadth of approach that sets the art in its context, this book explores why works were created and who commissioned the palaces, cathedrals, paintings, and sculptures. It covers Rome and Florence, Venice and the Veneto, Assisi, Siena, Milan, Pavia, Genoa, Padua, Mantua, Verona, Ferrara, Urbino, and Naples. Chapters are grouped into four chronological parts, allowing for a sustained examination of individual cities in different periods. "Contemporary Scene" boxes provide fascinating glimpses of daily life and "Contemporary Voice" boxes quote from painters and writers of the time. Innovative and scholarly, yet accessible and beautifully presented, this book is a definitive work on the Italian Renaissance. This revised edition contains around 200 new pictures and nearly all colour images. The chapter structure has also been improved for yet greater geographic and chronological clarity, and a new page size makes the volume more user-friendly.

This title was first published in 2000: Fashioning Identities analyses some of the different ways in which identities were fashioned in and with art during the Renaissance, taken as meaning the period c.1300-1600. The notion of such a search for new identities, expressed in a variety of new themes, styles and genres, has been all-pervasive in the historical and critical literature dealing with the period, starting with Burckhardt, and it has been given a new impetus by contemporary scholarship using a variety of methodological approaches. The identities involved are those of patrons, for whom artistic patronage was a means of consolidating power, projecting ideologies, acquiring social prestige or building a suitable public persona; and artists, who developed a distinctive manner to fashion their artistic identity, or drew attention to aspects of their artistic personality either in self portraiture, or the style and placing of their signature, or by exploiting a variety of literary forms. Several papers also attend to the fashioning of identities and meanings in Renaissance art by the spectator or critic and the ways in which these might or might not differ from those that were intended by the patron or artist. Though several of the studies deal with relatively little known material, from Ferrara, Brescia, or Tudor England, the majority aim to treat well known artists and works, such as Giotto, Michelangelo or Cellini, in a fresh way. Most of the essays are based on papers given at the conference of the Association of Art Historians held in 1998.

The Renaissance, now in its third edition, engages with earlier and current debates about the Renaissance, especially concerning its 'modernity', its elitism and gender bias and its globalism. This new edition has been revised to include a discussion of Venice, Rome, Naples and Florence and their relationship with surrounding courts and smaller provincial towns. Brown provides a fresh insight into some of the main themes of the Renaissance, with humanism now being explored in relation to gender, the position of women and the response of religious reformers to the new ideas. The broad geographical scope, concluding with an examination of diffusion through trade with Constantinople, Portugal and Spain, allows students to fully explore how the Renaissance transformed into a global movement. Key themes, such as humanism, art and architecture, Renaissance theatre and the invention of printing, are illustrated with quotations and exempla, making this book an invaluable source for students of the Renaissance, early modern history and social and cultural history.

The art of the Renaissance is usually the most familiar to non-specialists, and for good reason. This was the era that produced some of the icons of civilization, including Leonardo da Vinci's Mona Lisa and Last Supper and Michelangelo's Sistine Ceiling, Pieta, and David. Marked as one of the greatest moments in history, the outburst of creativity of the era resulted in the most influential artistic revolution ever to have taken place. The period produced a substantial number of notable masters, among them Donatello, Filippo Brunelleschi, Masaccio, Sandro Botticelli, Raphael, Titian, and Tintoretto. This second edition of Historical Dictionary of Renaissance Art contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 700 cross-referenced entries on artists from Italy, Flanders, the Netherlands, Germany, Spain, and Portugal, historical figures and events that impacted the production of Renaissance art. This book is an excellent access point for students, researchers, and anyone wanting to know more about the Renaissance art.

Accompanying a focused display at The Courtauld Gallery that will bring together for the first time Pieter Bruegel the Elder's only three known grisaille paintings - the Courtauld's Christ and the Woman Taken in Adultery (which is barred from travel), The Death of the Virgin from Upton House in Warwickshire (National Trust) and Three Soldiers from the Frick Collection in New York - this book will examine the sources, function and reception of these three exquisite masterpieces. The panels will be complemented by prints and contemporary replicas, as well by other independent grisailles in order to shed light on the development of this genre in Northern Europe. Despite his status as the seminal Netherlandish painter of the 16th century, Pieter Bruegel the Elder (c. 1525-1569) remains an elusive artist: fewer than forty paintings are ascribed to him. Of these, a dozen are cabinet-sized. These small-scale works offer key insights as they often bear a personal significance for the artist and were sometimes given as gifts to friends and patrons. Presenting these works together for the first time is not only an extraordinary and unprecedented opportunity but it will be extremely revealing, considering their unusual nature in both Bruegel's oeuvre and 16th-century art in general. Monochrome painting in shades of grey was a mainstay of Netherlandish art from the early 15th century, most often present on the wings of altarpieces and preparatory sketches for engravings. In contrast, Bruegel's panels constitute one of the earliest and rare examples of independent cabinet pictures in grisaille, created for private contemplation and enjoyment. This seemingly austere type of painting has often been imbued with religious or political significance. On a purely artistic level, it enabled the painter to showcase his skill by limiting his palette. The publication, which includes a technical investigation of the three panels, will provide the opportunity to reassess the practical aspects of the grisaille technique and the many ways in which this effect was achieved. Indeed, Bruegel's three monochromatic paintings display quite different techniques, raising the question of the painter's intent. This is the latest in the series of books accompanying critically acclaimed Courtauld Gallery displays, following on from Collecting Gauguin (2013), Antiquity Unleashed (2013), Richard Serra (2013), A Dialogue with Nature (2014), Bruegel to Freud (2014) and Jonathan Richardson (2015).

The Life and Work of Rosalba Carriera (1673-1757): The Queen of Pastel is the first extensive biographical narrative in English of Rosalba Carriera. It is also the first scholarly investigation of the external and internal factors that helped to create this female painter's unique career in eighteenth-century Europe. It documents the difficulties, complications, and consequences that arose then -- and can also arise today -- when a woman decides to become an independent artist. This book contributes a new, in-depth analysis of the interplay between society's expectations, generally accepted codices for gendered behaviour, and one single female painter's astute strategies for achieving success, as well as autonomy in her professional life as a famed artist. Some of the questions that the author raises are: How did Carriera manage to build up her career? How did she run her business and organize her own workshop? What kind of artist was Carriera? Finally, what do her self-portraits reveal in terms of self-enactment and possibly autobiographical turning points?

Sigmund Freud was already internationally acclaimed as the principal founder of psychoanalysis when he turned his attention to the life of Leonardo da Vinci. It remained Freud's favourite composition. Compressing many of his insights into a few pages, the result is a fascinating picture of some of Freud's fundamental ideas, including human sexuality, dreams, and repression. It is an equally compelling - and controversial - portrait of Leonardo and the creative forces that according to Freud lie behind some of his great works, including the Mona Lisa. With a new foreword by Maria Walsh.

Scholarship on religious printed images during the English Reformation (1535-1603) has generally focused on a few illustrated works and has portrayed this period in England as a predominantly non-visual religious culture. The combination of iconoclasm and Calvinist doctrine have led to a misunderstanding as to the unique ways that English Protestants used religious printed images. Building on recent work in the history of the book and print studies, this book analyzes the widespread body of religious illustration, such as images of God the Father and Christ, in Reformation England, assessing what religious beliefs they communicated and how their use evolved during the period. The result is a unique analysis of how the Reformation in England both destroyed certain aspects of traditional imagery as well as embraced and reformulated others into expressions of its own character and identity.

Studies on gender and sexuality have proliferated in the last decades, covering a wide spectrum of disciplines. This collection of essays offers a metanarrative of sexuality as it has been recently embedded in the art historical discourse of the European Renaissance. It revisits 'canonical' forms of visual culture, such as painting, sculpture and a number of emblematic manuscripts. The contributors focus on one image-either actual or thematic-and examine it against its historiographic assumptions. Through the use of interdisciplinary approaches, the essays propose to unmask the ideology(ies) of representation of sexuality and suggest a richer image of the ever-shifting identities of gender. The collection focuses on the Italian Renaissance, but also includes case studies from Germany and France.

This richly illustrated publication reproduces and describes effectively every early modern German colour print held at the British Museum. It is one of the world's most significant collections of these rare milestones of cultural heritage and technology. New photography reveals 150 impressions in jaw-dropping detail, most life-size. Some have never been seen in public or reproduced. It is the first major study of the first wave of German colour printing. It spans medieval printing in the late 1400s through the Renaissance and Reformation of the 1500s. Early Colour Printing features masterpieces by leading figures like Erhard Ratdolt, Lucas Cranach, Hans Baldung Grien, and Hans Burgkmair, as well as unfairly overlooked entrepreneurs and innovators like Erasmus Loy (and his daughter Anna). Their breakthroughs reproduced artworks and simplified astronomical calculations. They created trends in interior design and signalled 'red-letter days'. They helped musicians sight-read and they colour-coded metals for goldsmiths. These diverse new functions and markets might seem unrelated. But they are connected, and they cannot be understood in isolation. From artworks to missals, icons to wallpapers, this book breaks new ground by revealing the fascinating underlying technologies that enabled the production of these colour-printed objects. The many inventions of colour printing in the German-speaking lands began with medieval novel solutions. They were devised long before colour printing inks could be formulated. Then, colour printing techniques transformed how printed material could be used during the technological and cultural revolutions of the sixteenth century. Later designers and artists around Europe celebrated these techniques' heritage for centuries, from the 'Durer Renaissance' until chromolithography revolutionised the print market in the nineteenth century. Early Colour Printing captures this story in rich detail. It sets the stage for second wave of German colour woodcut, which was triggered by the Expressionist revival at the turn of the twentieth century. Thoroughly researched and engagingly written, this collection guide will be a standard reference on German graphic art, early modern visual culture, and the history of printing itself. Early Colour Printing: German Renaissance Woodcuts at the British Museum offers significant new research, including previously unidentified examples of early modern colour-printing. Some are believed to be unique in the world; others were made decades before the landmark invention of colourful chiaroscuro woodcut in Italy in 1516. By modelling a printer- and technology-based approach to the history of printing, it contributes to scholarship by pinpointing attributions to printers-not just to artists or designers. In doing so, it lays the groundwork for a new understanding of the history of print, one that encompasses all forms of printed material. This publication derives from an exhibition at the British Museum curated by Elizabeth Savage.

Rembrandt van Rijn (1606-69) transcends any period or social milieu: he is one of the world's great masters and though his works reflect the confidence of newly independent Holland, his vision extends far beyond these narrow confines. A deeply perceptive artist (his many self-portraits show his continued interest in the study of human nature), he sought to go beyond superficialities, to endow his biblical paintings, historical narratives, genre scenes and portraits with psychological depths hitherto unknown in Dutch painting. Impatient with conventionally stiffly posed group portraits, he produced such masterpieces as The Night Watch, The Anatomy Lesson of Dr Tulp and the Staal Meesters, while his studies of Saskia, his wife, and his mistress Hendrickje Stoffels reveal his deeply sensuous, compassionate nature. Michael Kitson has revised his highly successful book in the light of the most recent scholarship on Rembrandt, making this the ideal survey of the career of a much-loved genius.

During the early modern period there was a natural correspondence between how artists might benefit from the knowledge of mathematics and how mathematicians might explore, through advances in the study of visual culture, new areas of enquiry that would uncover the mysteries of the visible world. This volume makes its contribution by offering new interdisciplinary approaches that not only investigate perspective but also examine how mathematics enriched aesthetic theory and the human mind. The contributors explore the portrayal of mathematical activity and mathematicians as well as their ideas and instruments, how artists displayed their mathematical skills and the choices visual artists made between geometry and arithmetic, as well as Euclid's impact on drawing, artistic practice and theory. These chapters cover a broad geographical area that includes Italy, Switzerland, Germany, the Netherlands, France and England. The artists, philosophers and mathematicians whose work is discussed include Leon Battista Alberti, Nicholas Cusanus, Marsilio Ficino, Francesco di Giorgio, Leonardo da Vinci and Andrea del Verrocchio, as well as Michelangelo, Galileo, Piero della Francesca, Girard Desargues, William Hogarth, Albrecht Durer, Luca Pacioli and Raphael.

"In Your Face" concentrates on the Renaissance concern with "self-fashioning" by examining how a group of Renaissance artists and writers encoded their own improprieties in their works of art. In the elitist court society of sixteenth-century Italy, where moderation, limitation, and discretion were generally held to be essential virtues, these men consistently sought to stand out and to underplay their conspicuousness at once. The heroes (or anti-heroes) of this book--Michelangelo Buonarroti, Benvenuto Cellini, Pietro Aretino, and Anton Francesco Doni--violated norms of decorum by promoting themselves aggressively and by using writing or artworks to memorialize their assertiveness and intractable delight in parading themselves as transgressive and insubordinate on a grand scale. Focusing on these sorts of writers and visual artists, Biow constructs a version of the Italian Renaissance that is neither the elegant one of Castiglione's and Vasari's courts--so recently favored in scholarly accounts--nor the dark, conspiratorial one of Niccolo Machiavelli's and Francesco Guicciardini's princely states.

A definitive overview of one of the most celebrated figures of the Italian Renaissance Among the great figures of the Italian Renaissance, Raphael (1483-1520) is unarguably the artist who has been most widely and consistently admired across the centuries. He had an extraordinary and perhaps unrivaled capacity for self-reinvention-as he progressed from Umbria to Florence and Rome-and an ability to draw strength from the other great artists around him, seemingly growing in stature the more daunting the competition became. This insightful, impeccably researched, and comprehensive volume chronicles the progress of his career in all its richness and complexity. Sumptuous production values and generous illustrations go hand in hand with its rigorous and wide-ranging scholarship. The essays explore Raphael's paintings and drawings, his frescoes in the Vatican Stanze, his designs for tapestries, sculptures and prints, and his engagement with architecture. Detailed and authoritative catalogue entries examine many of Raphael's finest works. Published by National Gallery Company/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London April 9-July 31, 2022

This book considers the reception of the early modern culture of Florence, Rome, and Venice in other centers of the Italic peninsula, such as Ferrara, Bologna, Ancona, San Gimignano, and Pistoia, which had flourishing local cultures of their own. Offering a perspective that focuses on dialogue and exchange between different urban centers and cultural groups, it also involves a reexamination of the Renaissance itself as a form of translation of a past culture, one that attempted to assimilate the lost or fragmentary world of the Roman emperors, the Greek Platonists, and the ancient Egyptians. Collectively the essays examine how the processes of cultural self-definition varied between the Italian urban centers in the early modern period, well before the formation of a distinct Italian national identity. Exploring how artistic forms made the transition from one Italian city to another, attention is also focused on the subtle modification of practice required by local conditions and priorities.

The second volume of Leonardo Studies explores a dual theme of nature and architecture, offering a wide-ranging overview of current Leonardo scholarship on these two abundant subjects. While Leonardo worked on his Treatise on Painting, he noted that understanding the physical properties of nature must precede individual projects of painting or designing buildings. The volume begins with the Trattato, and follows with physics, geology, painting that imitates architectural structure and vice-versa, and proceeds to architectural projects, questions of attribution, urban planning, and and the dissemination of Leonardo's writings in the Trattato and its historiography. This impressive group of articles constitutes not only new research, but also a departure point for future studies on these topics. Contributors are: Janis Bell, Andrea Bernardoni, Marco Carpiceci, Paolo Cavagnero, Fabio Colonnese, Kay Etheridge, Diane Ghirardo, Claudio Giorgione, Domenico Laurenza, Catherine Lucheck, Silvio Mara, Jill Pederson, Richard Schofield, Sara Taglialagamba, Cristiano Tessari, Marco Versiero, and Raffaella Zama.

An accessible survey on a genius artist, published to accompany the 500th anniversary of Bosch's death Hieronymus Bosch (c. 1450-1516) lived and worked in 's-Hertogenbosch, the Netherlands, where he created enigmatic paintings and drawings full of bizarre creatures, phantasmagoric monsters, and terrifying nightmares. He also depicted detailed landscapes and found inspiration in fundamental moral concepts: seduction, sin, and judgment. This beautiful book accompanies a major exhibition on Bosch's work in his native city, and will feature important new research on his 25 known paintings and 20 drawings. The book, divided into six sections, covers the entirety of the artist's career. It discusses in detail Bosch's Pilgrimage of Life, Bosch and the Life of Christ, his role as a draughtsman, his depictions of saints, and his visualization of Judgment Day and the hereafter, among other topics, and is handsomely illustrated by new photography undertaken by the Bosch Research and Conservation Project Team. Distributed for Mercatorfonds Exhibition Schedule: Het Noordbrabants Museum, 's-Hertogenbosch, the Netherlands (02/13/16-05/08/16)