Your cart is empty
Renaissance art history is traditionally identified with Italian
centers of production, and Florence in particular. Instead, this
book explores the dynamic interchange between European artistic
centers and artists and the trade in works of art. It also
considers the impact of differing locations on art and artists and
some of the economic, political, and cultural factors crucial to
the emergence of an artistic center.
During the period of Aztec expansion and empire (ca. 1325-1525), scribes of high social standing used a pictographic writing system to paint hundreds of manuscripts detailing myriad aspects of life, including historical, calendric, and religious information. Following the Spanish conquest, native and mestizo tlacuiloque (artist-scribes) of the sixteenth century continued to use pre-Hispanic pictorial writing systems to record information about native culture. Three of these manuscripts-Codex Boturini, Codex Azcatitlan, and Codex Aubin-document the origin and migration of the Mexica people, one of several indigenous groups often collectively referred to as "Aztec." In Portraying the Aztec Past, Angela Herren Rajagopalan offers a thorough study of these closely linked manuscripts, articulating their narrative and formal connections and examining differences in format, style, and communicative strategies. Through analyses that focus on the materials, stylistic traits, facture, and narrative qualities of the codices, she places these annals in their historical and social contexts. Her work adds to our understanding of the production and function of these manuscripts and explores how Mexica identity is presented and framed after the conquest.
This book explores key themes in the making of Renaissance
painting, sculpture, architecture, and prints: the use of specific
techniques and materials, theory and practice, change and
continuity in artistic procedures, conventions and values. It also
reconsiders the importance of mathematical perspective, the
assimilation of the antique revival, and the illusion of
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 features Leonardo da Vinci's Vitruvian Man.
From celebrated gardens in private villas to the paintings and sculptures that adorned palace interiors, Venetians in the sixteenth century conceived of their marine city as dotted with actual and imaginary green spaces. This volume examines how and why this pastoral vision of Venice developed. Drawing on a variety of primary sources ranging from visual art to literary texts, performances, and urban plans, Jodi Cranston shows how Venetians lived the pastoral in urban Venice. She describes how they created green spaces and enacted pastoral situations through poetic conversations and theatrical performances in lagoon gardens; discusses the island utopias found, invented, and mapped in distant seas; and explores the visual art that facilitated the experience of inhabiting verdant landscapes. Though the greening of Venice was relatively short lived, Cranston shows how the phenomenon had a lasting impact on how other cities, including Paris and London, developed their self-images and how later writers and artists understood and adapted the pastoral mode. Incorporating approaches from eco-criticism and anthropology, Green Worlds of Renaissance Venice greatly informs our understanding of the origins and development of the pastoral in art history and literature as well as the culture of sixteenth-century Venice. It will appeal to scholars and enthusiasts of sixteenth-century history and culture, the history of urban landscapes, and Italian art.
The Spanish Baroque artist and printmaker, Jusepe de Ribera (1591-1652), has long been celebrated for his depictions of human suffering--faces contorted in pain, mutilated bodies, sagging flesh, and deformed bodies. This new volume explores, for the first time, the theme of violence in Ribera's work to demonstrate how his images are neither the product of his supposed sadism nor the expression of a purely aesthetic interest, but rather involve a complex artistic, religious and cultural engagement in the depiction of bodily suffering, challenging visitors to look beyond the shocking imagery. Born in J tiva, Valencia, Ribera spent most of his career in Naples, southern Italy, where he influenced many Neapolitan masters including Salvator Rosa and Luca Giordano. He is often regarded as the heir to Caravaggio for his dramatic use of light and shadow, and his practice of painting directly from the live model. His prints and paintings alike had an enormous impact on the development of Baroque art all over Europe.
In this engaging and handsome book, Cammy Brothers takes an unusual approach to Michelangelo's architectural designs, arguing that they are best understood in terms of his experience as a painter and sculptor. Unlike previous studies, which have focused on the built projects and considered the drawings only insofar as they illuminate those buildings, this book analyses his designs as an independent source of insight into the mechanisms of Michelangelo's imagination. Brothers gives equal weight to the unbuilt designs, and suggests that some of Michelangelo's most radical ideas remained on paper.
Brothers explores the idea of drawing as a mode of thinking, using its evidence to reconstruct the process by which Michelangelo arrived at new ideas. By turning the flexibility and fluidity of his figurative drawing methods to the subject of architecture, Michelangelo demonstrated how it could match the expressive possibilities of painting and sculpture.
One of the greatest biographies of an artist ever written, and a key document of the Renaissance. Written by a friend, fellow painter and fellow Florentine. Michelangelo Buonarrotti (1475-1564) is perhaps the greatest artist in the entire Western tradition. In painting, sculpture and architecture he created works that went beyond anything imagined before. The David - miraculously created, as Vasari describes, out of a piece of marble botched by another sculptor - the Sistine Ceiling, the Sistine Last Judgement, before which the Pope knelt in terrifed prayer when it was first unveiled: these works have lost none of their awe-inspiring power. Michelangelo's impact was immediate and he achieved a level of fame and influence that was unprecedented. It is not surprising, therefore, that the painter Giorgio Vasari should have made him the culmination of his Lives of the Painters, Sculptors and Architects, the first true work of art history. Vasari was a close colleague as well as a fellow-artist and fellow- Florentine. The biography printed here, from Vasari's much improved second edition, draws a picture of Michelangelo the man and the artist that has an immediacy and an authority that have not been surpassed. The introduction by David Hemsoll situates this great work in the context of 16th century Italian art.
Famed for creating some of the most iconic images in European art - including Mona Lisa and The Last Supper - Leonardo da Vinci has influenced generations of artists and thinkers, and continues to do so after more than 500 years. While we cannot hope to emulate his achievements, da Vinci showed an attitude towards life from which we can all learn. A true polymath, he was also a sculptor, architect, musician, mathematician, engineer and an anatomist and, with an unquenchable thirst for knowledge, da Vinci was never satisfied with what he had learned, frequently turning his mind to new, unexplored subjects. He saw links between art and science, and constantly pursued perfection and accuracy in his work, so that he developed many techniques we continue to use to this day. Combining these strengths with a unique imagination, da Vinci came up with designs for inventions centuries ahead of their time. In How to Think Like da Vinci, you too can learn to think like the Renaissance man, seize your opportunities, harness your talents, innovate and experiment and imagine the impossible. Read about this great man's life and achievements and develop your understanding of one of the world's most eclectic and extraordinary minds.
After Vasari's Lives of the Most Famous Artists, The Life of Titian by the seventeenth-century Venetian artist and writer Carlo Ridolfi is the most important contemporary documentary source for our understanding of the great Renaissance artist. This new critical edition, the first translation into English of Ridolfi's biography, illuminates his life, his artistic production, and his early critical reputation. The editors address art-historical questions of attribution, provenance, and documentation that Ridolfi's biography raises. Two introductory essays present the nature, scope, and importance of the biography for the study of Titian and Venetian Renaissance art and place Ridolfi in the tradition of Renaissance biography and artistic literature. The annotations provide a useful and current bibliography drawn from both art history and literature.
The Life of Titian will be of interest to a wide audience of scholars and students of the history of Renaissance art, literature, language, and culture.
More than ever before, the Renaissance stands as one of the defining moments in world history. Between 1400 and 1600, European perceptions of society, culture, politics and even humanity itself emerged in ways that continue to affect not only Europe but the entire world. This wide-ranging exploration of the Renaissance sees the period as a time of unprecedented intellectual excitement and cultural experimentation and interaction on a global scale, alongside a darker side of religion, intolerance, slavery, and massive inequality of wealth and status. It guides the reader through the key issues that defined the period, from its art, architecture, and literature, to advancements in the fields of science, trade, and travel. In its incisive account of the complexities of the political and religious upheavals of the period, the book argues that Europe's reciprocal relationship with its eastern neighbours offers us a timely perspective on the Renaissance that still has much to teach us today. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
Raphael (1483-1520) was for centuries considered the greatest artist who ever lived. Much of what we know about him comes from this biography, written by the Florentine painter Giorgio Vasari and first published in 1550. Vasari's Lives of the Painters was the first attempt to write a systematic history of Italian art. The Life of Raphael is a key text not only for the appreciation of Raphael's own art - whose development and chronology Vasari describes in detail, together with the spectacular social career of the first painter to be mooted, it was claimed, as a Cardinal - but also for its unprecedented attention to theoretical issues.
This monograph celebrates the National Gallery's 2015 acquisition of Giovanni da Rimini's Scenes from the Lives of the Virgin and Other Saints (c. 1300--1305). The painting is a rare survival from the late Middle Ages, uniting the exquisite detail of late Byzantine icons with the new, more naturalistic and expressive style exemplified by the Florentine painter Giotto. Probably created for private contemplation and worship, the painting may be the left wing of a diptych, a theory that is examined here in relation to its assumed companion panel Scenes from the Life of Christ (from the Galleria Nazionale d'Arte Antica, Palazzo Barberini, Rome). Significant new research explains its iconography, its devotional function, and the historical context in which it was created, while fresh technical analysis brings a greater understanding of the making and purpose of the panels and how they were originally displayed.
Superb reproductions of 44 of Holbein's finest portrait drawings: Sir Thomas Moore, Jane Seymour, the Prince of Wales, Anne Boleyn, dozens more personalities from the court of Henry VIII. 44 black-and-white illustrations. Publisher's Note. Captions.
This book brings together essays about painting in Venice during three centuries of remarkable artistic production, influence, and exchange. The chronological scope of the anthology reflects the crucial interrelationship between the life of the arts and the republic, but also indicates the longevity of the distinctive, but not in the least isolated, mode of making and looking that engaged painters and viewers both inside and outside of Venice. The focused themes that emerge in the essays-the artist's self-perception, the role of innovation and tradition in formal and material aspects of pictorial composition, the artistic exchange between Venice and other cities, both east and west, and the unique political and social pressures on artistic production and reception-reflect the Venetian engagement with many of the central concerns that preoccupied early modern artists. The dialogue established between Venetian art and society underpins all of the essays in the anthology; however, their critical focus remains on the formal, stylistic, and structural aspects of the pictures and how these visual mechanisms express meaning and shape viewer response.
"Singularly interesting and stimulating. . . . A passionate and
original work of scholarship."--Richard Wollheim, "Times Literary
Compared to the Middle Ages, the Renaissance is brief--little more
than two centuries, extending roughly from the mid-fourteenth
century to the end of the sixteenth century--and largely confined
to a few Italian city states. Nevertheless, the epoch marked a
great cultural shift in sensibilities, the dawn of a new age in
which classical Greek and Roman values were "reborn" and human
values in all fields, from the arts to civic life, were reaffirmed.
Albrecht Durer established his reputation as an artistic genius early in his career. By his mid-twenties, his engravings were being reproduced throughout Europe. This monograph explores the German master's entire life and oeuvre by focusing on the most important of his works. It follows Durer as he travelled throughout Europe, completing commissions for noblemen, kings, emperors, and popes - all the while satisfying his own thirst for knowledge and struggling with the changes brought about by the Reformation. Overflowing with impeccably reproduced images, this book offers full-page spreads of masterpieces as well as highlights of smaller details - allowing the viewer to appreciate every aspect of the artist's technique and output. Chronologically arranged, the book covers important biographical and historic events that reflect the latest scholarship. Additional information includes a list of works, timeline, and suggestions for further reading.
The question of how to understand Bruegel's art has cast the artist in various guises: as a moralizing satirist, comedic humanist, celebrator of vernacular traditions, and proto-ethnographer. Stephanie Porras reorients these apparently contradictory accounts, arguing that the debate about how to read Bruegel has obscured his pictures' complex relation to time and history. Rather than viewing Bruegel's art as simply illustrating the social realities of his day, Porras asserts that Bruegel was an artist deeply concerned with the past. In playing with the boundaries of the familiar and the foreign, history and the present, Bruegel's images engaged with the fraught question of Netherlandish history in the years just prior to the Dutch Revolt, when imperial, religious, and national identities were increasingly drawn into tension. His pictorial style and his manipulation of traditional iconographies reveal the complex relations, unique to this moment, among classical antiquity, local history, and art history. An important reassessment of Renaissance attitudes toward history and of Renaissance humanism in the Low Countries, this volume traces the emergence of archaeological and anthropological practices in historical thinking, their intersections with artistic production, and the developing concept of local art history.
This book tells the story of Italian Renaissance master Piero della Francesca (1411/13-1492) by focusing on four paintings he created over the span of his career. It also provides the first study of his small-scale devotional paintings, including the exquisite "Saint Jerome and a Donor." One of today's most prominent scholars narrates the painting's mysterious history and uncovers new insights gleaned during its recent study and restoration. The authors explore the relationship between this painting and other works made by Piero for private devotion, including one of his last and most striking paintings, the magnificent "Madonna di Senigallia. "New research describes the complex relationships between Piero and his patrons and other contemporaries. This book brims with revelatory details about Piero's work that will intrigue both casual readers and devoted fans of the artist, and will form a gateway to a larger analysis of Piero's overall body of work.
You may like...
Eyewitness to Old St Peter's - A Study…
Christine Smith, Joseph F Oconnor, … Hardcover
Marco Bussagli Paperback R300 Discovery Miles 3 000
The Da Vinci Legacy - How an Elusive…
Jean-Pierre Isbouts, Christopher Heath Brown Hardcover
Elena Capretti Paperback R301 Discovery Miles 3 010
The Story of Painting - How art was made
Dk Hardcover (1)
Practice and Theory in the Italian…
Christina Neilson Hardcover
Leonardo da Vinci
Giorgio Vasari Paperback
Becoming Michelangelo - Apprenticing to…
Alan Pascuzzi Hardcover
Antiquity Unleashed - Aby Warburg, Durer…
Marcus Andrew Hurttig Paperback
The Art Book - Big Ideas Simply…
Dk Hardcover (1)