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In this book, Christiane L. Joost-Gaugier offers the first systematic study of Pythagoras and his influence on mathematics, astronomy, philosophy, religion, medicine, music, the occult, and social life as well as on architecture and art in the late medieval and early modern eras. Following the threads of admiration for this ancient Greek sage from the fourteenth century to Kepler and Galileo in the seventeenth, this book demonstrates that Pythagoras s influence in intellectual circles Christian, Jewish, and Arab was more widespread than has previously been acknowledged. Joost-Gaugier shows that during this period Pythagoras was respected by many intellectuals in different areas of Europe. She also shows how this admiration was reflected in ideas that were applied to the visual arts by a number of well known architects and artists who sought, through the use of a visual language inspired by the memory of Pythagoras, to obtain perfect harmony in their creations. Among these were Alberti, Bramante, Leonardo da Vinci, Michelangelo, and Raphael. Thus did, she suggests, some of the greatest art works in the Western world owe their modernity to an inspirational force that, paradoxically, had been conceived in the distant past."
'The most important art historian of his generation' is how some scholars have described the late Michael Baxandall (1933-2007), Professor of the Classical Tradition at the Warburg Institute, University of London, and of the History of Art at the University of California, Berkeley. Baxandall's work had a transformative effect on the study of European Renaissance and eighteenth-century art, and contributed to a complex transition in the aims and methods of art history in general during the 1970s, '80s and '90s. While influential, he was also an especially subtle and independent thinker - occasionally a controversial one - and many of the implications of his work have yet to be fully understood and assimilated. This collection of 10 essays endeavors to assess the nature of Baxandall's achievement, and in particular to address the issue of the challenges it offers to the practice of art history today. This volume provides the most comprehensive assessment of Baxandall's work to date, while drawing upon the archive of Baxandall papers recently deposited at the Cambridge University Library and the Warburg Institute.
The Reformation is generally regarded as a calamitous episode in the history of British art, with the rich artistic heritage of the medieval period eradicated and replaced by an austere Protestant culture of the word. According to this view, religious art had no place in post-Reformation Britain. This compelling new study presents a wealth of visual evidence to argue that religious subject matter was common in the arts of Protestant Britain. Tara Hamling examines decorative features from historic houses throughout England and Scotland and identifies a significant but overlooked trend in the history of British art. She reveals a widespread fashion for large-scale religious imagery in houses owned by the gentry and prosperous middle classes during the period 1560-1660 which is interpreted in relation to life in the 'godly' household. The book is copiously illustrated with narrative imagery in wall painting, plasterwork, carved wood and stone and a range of objects including furniture, textiles and ceramics.
An impressive overview of drawing in Venice, from the time of Titian and Tintoretto to that of Canaletto and Tiepolo From the time of Titian and Tintoretto to that of Canaletto and Tiepolo, drawing was an important part of artistic practice and was highly valued in Venice. This exciting new study overturns traditional views on the significance of drawing in Venice, as an art and an act, from the Renaissance to the age of the Grand Tour. Gathering together the separate strands of theory, artistic practice, and collecting, Catherine Whistler highlights the interactions and tensions between a developing literary discourse and the practices of making and collecting graphic art. Her analysis challenges the conventional definition of Venetian art purely in terms of color, demonstrating that 16th-century Venetian artists and writers had a highly developed sense of the role and importance of disegno and drawing in art. The book's generous illustrations support these striking arguments, as well as conveying the great variety, interest, and beauty of the drawings themselves.
This handsome book explores the life and work of a little-known, immensely talented early Renaissance painter from Estonia This handsome volume is the first in English devoted to Michel Sittow (c. 1469-1525), an artist from Estonia who trained in the tradition of early Netherlandish painting. Sittow worked for many high-profile patrons, including Isabella of Castile in Spain, and specialized in beautiful small devotional works and portraits; the portraits, in particular, are artistically sophisticated paintings that have been characterized as among the finest of their time. Featuring approximately twenty works attributed to Sittow, as well as paintings by his contemporaries, including Hans Memling and Juan de Flandes, this book provides an important opportunity to learn about Sittow's oeuvre and to appreciate it within the cultural context of his homeland as well as the broader milieu of early northern Renaissance art.
The cross-cultural exchange of ideas that flourished in the Mediterranean during the sixteenth and seventeenth centuries profoundly affected European and Islamic society. Gardens of Renaissance Europe and the Islamic Empires considers the role and place of gardens and landscapes in the broader context of the information sharing that took place among Europeans and Islamic empires in Turkey, Persia, and India. In illustrating commonalities in the design, development, and people's perceptions of gardens and nature in both regions, this volume substantiates important parallels in the revolutionary advancements in landscape architecture that took place during the era. The contributors explain how the exchange of gardeners as well as horticultural and irrigation techniques influenced design traditions in the two cultures; examine concurrent shifts in garden and urban landscape design, such as the move toward more public functionality; and explore the mutually influential effects of politics, economics, and culture on composed outdoor space. In doing so, they shed light on the complexity of cultures and politics during the Renaissance. A thoughtfully composed look at the effects of cross-cultural exchange on garden design during a pivotal time in world history, this thought-provoking book points to new areas in inquiry about the influences, confluences, and connections between European and Islamic garden traditions. In addition to the editor, the contributors include Cristina Castel-Branco, Paula Henderson, Simone M. Kaiser, Ebba Koch, Christopher Pastore, Laurent Paya, D. Fairchild Ruggles, Jill Sinclair, and Anatole Tchikine.
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).
Long obfuscated by modern definitions of historical evidence and art patronage, Lucrezia Tornabuoni de' Medici's impact on the visual world of her time comes to light in this book, the first full-length scholarly argument for a lay woman's contributions to the visual arts of fifteenth-century Florence. This focused investigation of the Medici family's domestic altarpiece, Filippo Lippi's Adoration of the Christ Child, is broad in its ramifications. Mapping out the cultural network of gender, piety, and power in which Lippi's painting was originally embedded, author Stefanie Solum challenges the received wisdom that women played little part in actively shaping visual culture during the Florentine Quattrocento. She uses visual evidence never before brought to bear on the topic to reveal that Lucrezia Tornabuoni - shrewd power-broker, pious poetess, and mother of the 'Magnificent' Lorenzo de' Medici - also had a profound impact on the visual arts. Lucrezia emerges as a fascinating key to understanding the ways in which female lay religiosity created the visual world of Renaissance Florence. The Medici case study establishes, at long last, a robust historical basis for the assertion of women's agency and patronage in the deeply patriarchal and artistically dynamic society of Quattrocento Florence. As such, it offers a new paradigm for the understanding, and future study, of female patronage during this period.
For too long, the 'centre' of the Renaissance has been considered to be Rome and the art produced in, or inspired by it. This collection of essays dedicated to Deborah Howard brings together an impressive group of internationally recognised scholars of art and architecture to showcase both the diversity within and the porosity between the 'centre' and 'periphery' in Renaissance art. Without abandoning Rome, but together with other centres of art production, the essays both shift their focus away from conventional categories and bring together recent trends in Renaissance studies, notably a focus on cultural contact, material culture and historiography. They explore the material mechanisms for the transmission and evolution of ideas, artistic training and networks, as well as the dynamics of collaboration and exchange between artists, theorists and patrons. The chapters, each with a wealth of groundbreaking research and previously unpublished documentary evidence, as well as innovative methodologies, reinterpret Italian art relating to canonical sites and artists such as Michelangelo, Titian, Tintoretto, Veronese, and Sebastiano del Piombo, in addition to showcasing the work of several hitherto neglected architects, painters, and an inimitable engineer-inventor.
Jewelry holds a special significance in all cultures The jewelry
worn in medieval Europe was important as an indicator of the
wearer's social status and wealth, faith and superstition,
allegiances and literacy. This stunning book draws on the major
collection at the V&A to focus on the heart of the Medieval
period from 1100 to 1500. Royalty and the nobility wore gold,
silver, or precious gems, while humbler ranks wore base metals,
copper or pewter, sometimes set with colored glass, in imitation of
gems. This richly illustrated book, one of very few on this
subject, looks at the jewels themselves--rings, bracelets,
necklaces, amulets, crosses and crucifixes--as well as contemporary
portraits and sculpture to place the jewelry in its cultural
Peter Paul Rubens (1577-1640) proudly described his monumental painting Prometheus Bound as first among "the flower of my stock." This singular work demonstrates how Rubens engaged with and responded to his predecessors Michelangelo and Titian, with whom he shared an interest in depictions of physical torment. The Wrath of the Gods offers an in-depth case study of the Flemish artist's creative process and aesthetic, while also demonstrating why this particular painting has appealed to viewers over time. Many scholars have elaborated on Rubens's affinity for Titian, but his connection to Michelangelo has received far less attention. This study presents a new interpretation of Prometheus Bound, showing how Rubens created parallels between the pagan hero Prometheus and Michelangelo's Risen Christ from the Sistine Chapel's Last Judgment. Christopher D. M. Atkins expands our understanding of artistic transmission by elucidating how Rubens synthesized the works he saw in Italy, Spain, and his native Antwerp, and how Prometheus Bound in turn influenced Dutch, Flemish, and Italian artists. By emulating Rubens's composition, these artists circulated it throughout Europe, broadening its influence from his day to ours.
Few, if any, early modern European cities boasted a population as racially, ethnically, and religiously diverse as Renaissance Venice, from German merchants living in the Fondaco dei Tedeschi to the Jewish inhabitants of the Ghetto. This fascinating book focuses on the wealthy elite of that immigrant population. From monumental palaces to pictorial cycles, Blake de Maria examines the artistic patronage commissioned by and associated with rich immigrant merchants who relocated to Venice with the aim of becoming Venetian "cittadini, " or citizens.
As newcomers to the city, immigrant merchant families had to acquire the material commodities necessary for everyday life, and the need to establish an appropriate spiritual identity proved equally pressing. De Maria investigates important aspects of the artistic, commercial, and familial activities of naturalized citizen families, and considers the communal functions of this merchant clan, their social identity as naturalized citizens, their contributions to the fabric of early modern Venice, and their complex relationship with Venice's native population. Rich in new material and full of human interest, the book sheds light on a significant, hitherto little-known sector in Venetian artistic patronage.
Raphael Sanzio (1483-1520) was a member of the elite group of Italian Renaissance masters which also included his prominent rivals Leonardo da Vinci and Michelangelo. Born in Urbino where his father was court artist, he moved to Florence as a young man and there established his reputation by painting a series of Virgin and Child compositions. Four years later he was summoned to Rome by Pope Julius II to decorate his private apartments in the Vatican. His meteoric rise at the papal court inflamed the jealousy of Michelangelo, whose style Raphael was able to adopt and then make his own. For the next eighteen years Raphael was indispensable to Julius and his successor Leo X - not only as a painter, but also as a designer of tapestries, architect of St Peter's and even procurer of antiquities, dominating the arts in Rome until his untimely death on his 37th birthday. Raphael had an exceptional artistic eye and a gift for absorbing the styles of other artists and adapting them to his own means and purposes. Draughtsmanship was the foundation of his immensely successful career, and the British Museum holds an excellent collection of his drawings. Beginning with an introduction to the life of the artist, this beautifully illustrated book presents a chronological selection of Raphael's drawings including early figure studies, demonstrating his astonishing mastery of naturalistic movement. It then explores his working methods and shows how he incorporated the influences of his famous peers into his own inimitable style. The development of Raphael's ideas through his drawings gives insight into the mind and method of a fascinating and much-admired artist.
Bring a fantastical vision to your wall with these 16 ready-to-frame prints from the Renaissance rebel genius, Hieronymus Bosch, including spectacular details from The Garden of Earthly Delights.Included artworks: Ecce Homo (Christ presented to the People), c. 1490 Temptation of St Anthony, c. 1501 Garden of Earthly Delights, c. 1503 Paradise and Hell, c. 1505 - 1515 The Last Judgement, c. 1506 The Wedding at Cana with Exempla, c. 1500 -- 1510 Four Afterlife Panels, c. 1490 Haywain, c. 1510 -- 1516
Phaidon's classic illustrated monograph on Raphael, updated with an elegantly crafted design for today's burgeoning art aficionados. Reviving a much beloved group of artist monographs from the Phaidon archive, the new Phaidon Classics bring to life the fine craftsmanship and design of Phaidon books of the 1930s, 40s and 50s. Updated with a contemporary "classic" design, full color images and new introductions by leading specialists on the work of each artist, these elegantly crafted volumes revive the fine bookmaking of the first half of the twentieth century, making Phaidon Classics instant collectors' items. A magnificent study of Raphael (1438-1520), one of the greatest painters of the Italian Renaissance, whose brief career produced such masterpieces as The School of Athens and The Three Graces. The large-format images bring to life Raphael's radiant colors and brushwork in the religious paintings of the Madonna and saints, mythological paintings, and portraits ranging from Pope Julius II to Baldassare Castiglione.
This rich collection of over twenty fully illustrated essays covers an array of medieval topics, with a particular emphasis on sculpture. The contributors, all friends and colleagues of the dedicatee, are prominent experts in their different fields, from the United Kingdom, Europe and the United States. The wide range of subjects covered includes ivories, wood carvings, alabaster, architectural sculpture, caskets, reliquaries, and questions of imagery and iconography. With a full scholarly apparatus, A Reservoir of Ideals is an invaluable work of reference. The volume celebrates the museum career and scholarship of Paul Williamson, a scholar and curator whose outstanding contribution to art history continues to expand and inspire the study of sculpture in general and medieval art in particular. Williamson joined the V&Ain 1979 as one of the youngest curators ever appointed. He took over as Chief Curator in 1989, and he was Director of the Collections from 2004-07, and Acting Deputy Director in 2013. During his 36-year career at the V&Ahe wrote 17 books and over 150 articles. Williamson's profound experience and expertise as a curator at the V&Ahave both enhanced his own well-deserved reputation as the leading expert in the study of European sculpture, and simultaneously enriched the standing and holdings of the collections themselves. The works acquired during his time at the V&A, and the gallery displays that he either oversaw or curated himself, amply demonstrate his tremendous range of knowledge and appreciation of art. Despite his wide-ranging expertise and enthusiasm for the art of all periods, it seems fitting that this volume is devoted to medieval art, and primarily to sculpture - the works of art that undoubtedly lie closest to his heart. It is a testament to his standing at the pinnacle of medieval studies that so many leading experts have eagerly contributed to this exceptional collection.
This engaging collection of fifteen essays offers new perspectives on a wide range of subjects in Italian art history, architecture, history, and urban studies. Topics range from eleventh-century urbanism in Florence and northern influences on Lombard painting to the rewriting of history in the nascent Italian state. The contributors are former students of Syracuse University's Florence Graduate Program in Renaissance Art.The volume is dedicated to Professor Rab Hatfield, a renowned teacher and scholar in Italian Renaissance studies. He has taught at Syracuse University in Florence since 1971.
Inspired by recent approaches to the field, the book reexamines the field of Renaissance art history by exploring the art of this era in the light of global connections. It considers the movement of objects, ideas and technologies and its significance for European art and material culture, analysing images through the lens of cultural encounter and conflict. -- .
In this widely acclaimed work, James Ackerman considers in detail
the buildings designed by Michelangelo in Florence and
Rome--including the Medici Chapel, the Farnese Palace, the Basilica
of St. Peter, and the Capitoline Hill. He then turns to an
examination of the artist's architectural drawings, theory, and
practice. As Ackerman points out, Michelangelo worked on many
projects started or completed by other architects. Consequently
this study provides insights into the achievements of the whole
profession during the sixteenth century. The text is supplemented
with 140 black-and-white illustrations and is followed by a
scholarly catalog of Michelangelo's buildings that discusses
chronology, authorship, and condition. For this second edition,
Ackerman has made extensive revisions in the catalog to encompass
new material that has been published on the subject since
The twelve silver-gilt cups known as the Aldobrandini Tazze-magnificent examples of 16th-century European goldsmithing in size, design, and quality of execution - feature figures and scenes from Roman historian Suetonius's classic work The Twelve Caesars, all rendered in minute, intricate relief. Dispersed in the 1860s, the tazze were reunited in 2014 for the first time since the 19th century, each piece newly photographed to highlight the dazzling detail and show the works as they were originally made. The accompanying essays, written by a team of scholars from around the world, explore the persistent questions that swirl around these unique silver dishes, including where, when, and for whom they were originally made, what they were used for, and why the set was separated and scattered.
Michelangelo is universally recognized to be one of the greatest
artists of all time. In this vividly written biography, William E.
Wallace offers a substantially new view of the artist. Not only a
supremely gifted sculptor, painter, architect, and poet,
Michelangelo was also an aristocrat who firmly believed in the
ancient and noble origins of his family. The belief in his
patrician status fueled his lifelong ambition to improve his family
s financial situation and to raise the social standing of artists.
Michelangelo s ambitions are evident in his writing, dress, and
comportment, as well as in his ability to befriend, influence, and
occasionally say no to popes, kings, and princes. Written from the
words of Michelangelo and his contemporaries, this biography not
only tells his own stories but also brings to life the culture and
society of Renaissance Florence and Rome. Not since Irving Stone s
novel The Agony and the Ecstasy has there been such a compelling
and human portrayal of this remarkable yet credible human
This is the first in-depth historical study of Jan Gossart (ca. 1478-1532), one of the most important painters of the Renaissance in northern Europe. Providing a richly illustrated narrative of the Netherlandish artist's life and art, Marisa Anne Bass shows how Gossart's paintings were part of a larger cultural effort in the Netherlands to assert the region's ancient heritage as distinct from the antiquity and presumed cultural hegemony of Rome. Focusing on Gossart's vibrant, monumental mythological nudes, the book challenges previous interpretations by arguing that Gossart and his patrons did not slavishly imitate Italian Renaissance models but instead sought to contest the idea that the Roman past gave the Italians a monopoly on antiquity. Drawing on many previously unused primary sources in Latin, Dutch, and French, Jan Gossart and the Invention of Netherlandish Antiquity offers a fascinating new understanding of both the painter and the history of northern European art at large.
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