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How the far North offered a different kind of terra incognita for the Renaissance imagination. European narratives of the Atlantic New World tell stories of people and things: strange flora, wondrous animals, sun-drenched populations for Europeans to mythologize or exploit. Yet, as Christopher Heuer explains, between 1500 and 1700, one region upended all of these conventions in travel writing, science, and, most unexpectedly, art: the Arctic. Icy, unpopulated, visually and temporally "abstract," the far North-a different kind of terra incognita for the Renaissance imagination-offered more than new stuff to be mapped, plundered, or even seen. Neither a continent, an ocean, nor a meteorological circumstance, the Arctic forced visitors from England, the Netherlands, Germany, and Italy, to grapple with what we would now call a "non-site," spurring dozens of previously unknown works, objects, and texts-and this all in an intellectual and political milieu crackling with Reformation debates over art's very legitimacy. In Into the White, Heuer uses five case studies to probe how the early modern Arctic (as site, myth, and ecology) affected contemporary debates over perception and matter, representation, discovery, and the time of the earth-long before the nineteenth century Romanticized the polar landscape. In the far North, he argues, the Renaissance exotic became something far stranger than the marvelous or the curious, something darkly material and impossible to be mastered, something beyond the idea of image itself.
Master of art, science, philosophy, architecture and much more, Leonardo da Vinci was the definition of a Renaissance Man. While many of his works were left unfinished or have badly deteriorated, his drawings and words preserve his genius and remain a critical resource for artists today. Delve into one of history's greatest minds, and be guided and inspired by his works and wisdom in The Leonardo da Vinci Sketchbook. From anatomical studies to tonal compositions, master essential techniques, principles and subjects. Pore over the most compelling details of Leonardo's work and follow the guided projects within to become a master draughtsman.
In this visually stunning and much anticipated book, acclaimed art historian Joseph Koerner casts the paintings of Hieronymus Bosch and Pieter Bruegel in a completely new light, revealing how the painting of everyday life was born from what seems its polar opposite: the depiction of an enemy hell-bent on destroying us. Supreme virtuoso of the bizarre, diabolic, and outlandish, Bosch embodies the phantasmagorical force of painting, while Bruegel, through his true-to-life landscapes and frank depictions of peasants, is the artistic avatar of the familiar and ordinary. But despite their differences, the works of these two artists are closely intertwined. Bruegel began his career imitating Bosch's fantasies, and it was Bosch who launched almost the whole repertoire of later genre painting. But Bosch depicts everyday life in order to reveal it as an alluring trap set by a metaphysical enemy at war with God, whereas Bruegel shows this enemy to be nothing but a humanly fabricated mask. Attending closely to the visual cunning of these two towering masters, Koerner uncovers art history's unexplored underside: the image itself as an enemy. An absorbing study of the dark paradoxes of human creativity, Bosch and Bruegel is also a timely account of how hatred can be converted into tolerance through the agency of art. It takes readers through all the major paintings, drawings, and prints of these two unforgettable artists--including Bosch's notoriously elusive Garden of Earthly Delights, which forms the core of this historical tour de force. Elegantly written and abundantly illustrated, the book is based on Koerner's A. W. Mellon Lectures in the Fine Arts, a series given annually at the National Gallery of Art, Washington.
Over the course of the twelfth and thirteenth centuries, European society confronted rapid monetization, a process that has been examined in depth by economic historians. Less well understood is the development of architecture to meet the needs of a burgeoning mercantile economy in the Late Middle Ages and early modern period. In this volume, Lauren Jacobi explores some of the repercussions of early capitalism through a study of the location and types of spaces that were used for banking and minting in Florence and other mercantile centers in Europe. Examining the historical relationships between banks and religious behavior, she also analyzes how urban geographies and architectural forms reveal moral attitudes toward money during the onset of capitalism. Jacobi's book offers new insights into the spaces and locations where pre-industrial European banking and minting transpired, as well as the impact of religious concerns and financial tools on those sites.
'In this painting of Leonardo's there was a smile so pleasing that it seemed divine rather than human.' Often called "the first art historian", Vasari writes with delight on the lives of Leonardo and other celebrated Renaissance artists . Introducing Little Black Classics: 80 books for Penguin's 80th birthday. Little Black Classics celebrate the huge range and diversity of Penguin Classics, with books from around the world and across many centuries. They take us from a balloon ride over Victorian London to a garden of blossom in Japan, from Tierra del Fuego to 16th-century California and the Russian steppe. Here are stories lyrical and savage; poems epic and intimate; essays satirical and inspirational; and ideas that have shaped the lives of millions. Giorgio Vasari (1511-1574). Vasari's works available in Penguin Classics are Lives of the Artists Volume I and Volume II.
A visionary scientist, a supreme painter, a man of eccentricity and ambition: Leonardo da Vinci had many lives. Born from a fleeting affair between a country girl and a young notary, Leonardo was never legitimized by his father and received no formal education. While this freedom from the routine of rigid and codified learning may have served to stimulate his natural creativity, it also caused many years of suffering and an insatiable need to prove his own worth. It was a striving for glory and an obsessive thirst for knowledge that prompted Leonardo to seek the protection and favour of the most powerful figures of his day, from Lorenzo de' Medici to Ludovico Sforza, from the French governors of Milan to the pope in Rome, where he could vie for renown with Michelangelo and Raphael. In this revelatory account, Antonio Forcellino draws on his expertise - both as historian and as restorer of some of the world's greatest works of art - to give us a more detailed view of Leonardo than ever before. Through careful analyses of his paintings and compositional technique, down to the very materials used, Forcellino offers fresh insights into Leonardo's artistic and intellectual development. He spans the great breadth of Leonardo's genius, discussing his contributions to mechanics, optics, anatomy, geology and metallurgy, as well as providing acute psychological observations about the political dynamics and social contexts in which Leonardo worked. Forcellino sheds new light on a life all too often overshadowed and obscured by myth, providing us with a fresh perspective on the personality and motivations of one of the greatest geniuses of Western culture.
In this fascinating exploration of Jan Steen's The Drawing Lesson, John Walsh offers an explanation of the individual parts and larger patterns of the work, allowing us to see how each prop and pose contributes to the larger theme--the art of painting and the education of the artist. He also recounts Steen's career and the history of the picture itself, presenting, in sum, not only an examination of a fine painting but also a lesson in how to look at and "read" a complex work of art.
Shedding new light on the renowned Renaissance artist, this book examines all of da Vinci's known paintings using recent advances in technology and the latest art historical research. While Leonardo da Vinci is one of history's most studied and renowned artists, there are many myths surrounding his work. Beginning with his birth and early maturity in the workshops of the Florentine masters, Alessandro Vezzosi delves into the provenance of disputed works such as Madonna Litta and La Bella Principessa. He demonstrates how recent advances in technology have aided researchers in studying and restoring da Vinci's art--including uncovering forgeries--and he explores the artist's scientific achievements in the fields of optics and paint composition. An exquisitely produced plate section looks at the most significant aspects of da Vinci's work, and offers numerous comparative examples in the form of archival documents, preparatory studies, and contemporary paintings. A fitting tribute to da Vinci, this wide ranging book applies 21st-century knowledge to help answer centuries-old questions about the Renaissance genius.
An innovative study of the relationship between Andrea Mantegna and Giovanni Bellini, two masters of the Italian Renaissance Andrea Mantegna (c. 1431-1506) and Giovanni Bellini (active c. 1459; died 1516) each produced groundbreaking paintings, marked by pictorial and technical innovations, that are among the masterpieces of the Italian Renaissance. Exploring the fruitful dynamic between Mantegna's inventive compositional approach and interest in classical antiquity and Bellini's passion for landscape painting, this fascinating volume examines how these two artists, who were also brothers-in-law, influenced and responded to each other's work. Full of new insights and captivating juxtapositions-including comparisons of each of the artist's depictions of the Agony in the Garden and the Presentation to the Temple-this study reveals that neither Mantegna's nor Bellini's achievements can be fully understood in isolation and that their continuous creative exchanges shaped the work of both.
From the time he set up his first studio at the tender age of sixteen, Sir Anthony Van Dyck (1599-1641) was a legend in the art world. Rubens, whom he studied with as a child, said that he was his most talented pupil, and he went on to spectacularly fulfill this promise with a career as a celebrated court painter in England and Spain. Historians, scholars, and art lovers alike continue to recognize the sophistication and timeless beauty of his works. In this fascinating compendium of Van Dyck's decades-long career, Natalia Gritsai highlights the best of the artist's many masterpieces.
Leonardo da Vinci (1452-1519) was a painter, architect, inventor and student of all things scientific. His natural genius crossed so many disciplines that he epitomized the term `Renaissance man'. Today he remains best known for his art, including two paintings that remain among the world's most famous and admired, Mona Lisa and The Last Supper. This book features six meticulously crafted pop-ups of his most famous works: Self portrait; Annunciation; Ornithopter; Virgin & Child; Architecture - an overview of his drawings and designs; and Vitruvian Man.
Very few artists can claim such lasting and worldwide fame and importance as Michelangelo Buonarroti (1475-1564). The nickname il divino ("the divine one") has been applied to him since the 1530s right through to today: his achievements as a sculptor, painter, and architect remain unparalleled and his creations are among the best-known artworks in the world. This Bibliotheca Universalis edition is devoted to the artist's graphic work, a testimony to his masterly command of line, form, and detail, from architectural studies to anatomically perfect figures. The book brings together some of the artist's finest drawings from museums and collections around the world as well as some of his own notes and revisions, offering stunning proximity not only to the ambition and scope of Michelangelo's practice but also his working process. A chapter with a compilation of newly attributed and reattributed drawings provides further insights into Michelangelo's varied graphic oeuvre and the ongoing exploration of his genius.
This book brings together fifty exquisite observational portrait drawings from the Renaissance and Baroque periods , including works by Leonardo da Vinci, Durer, Holbein, Bernini, Carracci, Clouet , Rubens and Rembrandt . More than a record of the sitters ' appearance, these works capture a moment of connection between artist and sitter: an encounter.
Palladio (1508-80) combined classical restraint with constant inventiveness to produce one of the most beautiful, and easily the most influential, series of buildings in the history of art.
In this brilliantly incisive study, Professor Ackerman sets Palladio in the context of his age - the great Humanist era of Michelangelo and Raphael, Titian and Veronese - examines each of the wonderful villas, churches and palaces in turn, and tries to penetrate to the heart of the Palladian miracle. Palladio's theoretical writings are important and illuminating, he suggests, yet they can never do justice to the intense intuitive skills of 'a magician of light and colour'. Indeed, as the fine photographs in this book reveal, Palladio was 'as sensual, as skilled in visual alchemy as any Venetian painter of his time', and his countless imitators have usually captured the details, but not the essence, of his supreme style. There are buildings all the way from Philadelphia to St. Petersburg which bear witness to Palladio's 'permanent place in the making of architecture', yet he richly deserves also to be seen on his own terms; this masterly introduction to a master architect does just that.
Part of a series of exciting and luxurious Flame Tree Sketch Books Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. The thick paper stock makes them perfect for sketching and drawing. These are perfect for personal use and make a dazzling gift. This example features Michelangelo: Creation Hands.
Fascinating insight into two of the giants in the history of Western art. The exhibition Mantegna and Bellini runs at the National Gallery, London, from 1 October, 2018 to 27 January 2019. Giovanni Bellini, 'one of the great Italian poets' in the words of Roberto Longhi, and Andrea Mantegna, he who 'sculpted [the image] alive and real in his painting' in the sonnet by Ulisse degli Aleotti, were two giants in the history of Western art - extremely distant in character, certainly, yet connected by deep family ties. Nicolosia - Jacopo Bellini's daughter and thus half-sister to Giovanni - married Mantegna in 1453. This marriage engendered one of the most fascinating pictorial dialogues of the Quattrocento, as they both developed the motif of The Presentation of Jesus at the Temple. Now we see this pair of works exhibited side-by-side for the very first time, half a millennium after they were painted. This volume narrates an extraordinary event, down to the last detail, through a riveting analysis of the paintings themselves and of the relationship between the two artists.
Leonardo da Vinci lived an itinerant life. Throughout his career - from its beginnings in the creative maelstrom of fifteenth-century Florence to his role as genius in residence at the court of the king of France - Leonardo created a kind of private universe for himself and his work. Leonardo also spent a great deal of time away from his easel, pursuing his interest in engineering, natural science, sculpture, poetry, fables, music and anatomy. In the time that another artist would finish a series of paintings, he would work on one. Sometimes a painting would take decades, accompanying him on his travels as he worked on other commissions. Leonardo's private world was both vibrant and active. It sometimes did and at other times did not interact with the wider world. But what emerged from it has established Leonardo as the definition of the Renaissance Man.
This book is a new English version of the third edition (1963) of Longhi's seminal work on the Renaissance painter Piero della Francesca, with an introduction by Metropolitan Museum of Art curator Keith Christiansen.
The Florentine painter Sandro Botticelli (1445-1510) is one of the greatest artists of all time. Renowned of the iconic Birth of Venus and Primavera, his work has become part of our collective visual memory, influencing product development, fashion design and artists as diverse as Andy Warhol, Dante Gabriel Rossetti, Rene Magritte and Jeff Koons. But Botticelli's fame today was by no means a foregone conclusion. Quickly forgotten after his death, he was only rediscovered as an artist in the nineteenth-century - and much of what we know of his work has been pieced together from fragmentary evidence; only three of his works are signed or documented. Since then, `Botticelli' has been interpreted in many different ways and has led to many questions. How does a painter acquire international fame? What made Botticelli a pop icon? Why are his works considered timeless? What is it that makes him so `European' that his Venus appears on the 10 cent coin? What we can say-safely-is that Botticelli, more than any other Old Master, inspired and continues to inspire modern and contemporary art. This book traces the fascinating history of these shifting appropriations and re-evaluations right up to the present, and is the first to present the artist's work-a selection of more than forty originals by Botticelli-in the context of these adaptations and interpretations in a range of media that spans painting, drawing, sculpture, photography, video, fashion and design.
In the Renaissance period, art and architecture in Venice reached a kind of apotheosis when many of the city's new buildings, sculptures and paintings took on distinctive and original qualities. The spread of Renaissance values provided leading artists such as Gentile and Giovanni Bellini, Giorgione, Palladio, Titian, and Tintoretto with a licence for artistic invention. By adopting a chronological approach and focusing attention on the artists, Tom Nichols presents a vivid and easily navigable study of Venetian Renaissance art.
The renowned Italian painter Michelangelo Merisi da Caravaggio
(1571-1610) established his career in Catholic Rome, making
paintings that placed particular importance on sacred relics and
the glorification of martyred saints. Beginning with his early
works, Caravaggio was intensely engaged with the physical world. He
not only interrogated appearances but also experimented with the
paint's material nature. "Caravaggio's Pitiful Relics" explores how
the artist's commitment to materiality served and ultimately
challenged the Counter Reformation church's interests. In his first
ecclesiastical commission, Caravaggio offered an unconventional
representation of martyrdom that collapsed the borders between art,
contemporary religious persecution, iconoclasm, and relics in early
Christian catacombs. Yet his art controversially and eventually led
to a criminal trial. After he had fled from Rome in disgrace, his
major altarpiece depicting the death of the Virgin Mary, portraying
her mortality rather than her sanctity, was removed. Caravaggio's
materiality came into conflict with changing notions of the sacred;
thereafter, the sacred object became a secular work of art, marking
the displacement of the relic.
Covering a period that witnessed the flowering of the Renaissance and the major expansion of the Italian silk industry, this volume examines the Italian silk fabrics depicted in paintings from Italy, England and the Netherlands over the course of 250 years. Lisa Monnas offers a masterly evaluation of these paintings as source material for classifying surviving textiles, giving particular attention to the identification of historic textile types and their weave structure.
Monnas examines a wide range of subjects, including silk as a marker of social status, the material possessions of artists and their ownership of textiles as props, the involvement of painters in silk design, and the repetition and transfer of patterns. She considers the evidence of paintings not only for the veracity with which the silks are depicted but also for their value as a historic source concerning the use of fabrics.
In early 15th-century Florence an idea took root that was to change art and society for ever: the revival of classical Rome, its values, its culture and its architecture. Abruptly rejecting the Gothic style of the Middle Ages, European architects eagerly adopted a new set of principles to create some of the most wonderful buildings of all time.
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