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Books > Arts & Architecture > History of art / art & design styles > 1400 to 1600
While the masterpieces of the Italian Renaissance are usually
associated with Italy's historical seats of power, some of the
era's most characteristic works are to be found in places other
than Florence, Rome, and Venice. They are the product of the
diversity of regions and cultures that makes up the country. In
Endless Periphery, Stephen J. Campbell examines a range of iconic
works in order to unlock a rich series of local references in
Renaissance art that include regional rulers, patron saints, and
miracles, demonstrating, for example, that the works of Titian
spoke to beholders differently in Naples, Brescia, or Milan than in
his native Venice. More than a series of regional microhistories,
Endless Periphery tracks the geographic mobility of Italian
Renaissance art and artists, revealing a series of exchanges
between artists and their patrons, as well as the power dynamics
that fueled these exchanges. A counter history of one of the
greatest epochs of art production, this richly illustrated book
will bring new insight to our understanding of classic works of
Italian art.
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.
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Titian
(Paperback)
Ian G Kennedy
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R485
R400
Discovery Miles 4 000
Save R85 (18%)
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Ships in 9 - 15 working days
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Immerse yourself in the rich shades and textures of Tiziano
Vecellio (c. 1488-1576), commonly known as Titian, and the
figurehead of 16th-century Venetian painting. With his bold
approach to form and startling, opulent colors, Titian worked with
a number of prestigious commissions and left behind an astonishing
repertoire of portraits, mythological scenes, altarpieces, and
landscapes that remains one of the most important legacies of
Renaissance art. This dependable artist introduction traces
Titian's complete career and its trailblazing influence on
successive generations of artists, from Diego Velazquez to van
Dyck. From the rippling sensuality of Venus of Urbino (c.
1488-1576) to the airborne dynamism of Bacchus and Ariadne
(1520-1523), all the major works are here, charting the artist's
stylistic experimentation over time as well as his consistent and
unique ability to work across genres and to bring a defining new
level of emotional and spiritual aspect to his subjects. "Titian
has the finest talent and a very pleasant, vivacious manner." -
Michelangelo.
Accompanies the exhibition From Bosch's Stable: Hieronymous Bosch
and the Adoration of the Magi, at the Noordbrabants Museum from
December 12, 2018 to March 10, 2019. Marks the rare display of the
Adoration of the Magi from the Metropolitan Museum of Art (New
York) in the city where Bosch was born. Presents the works in an
accessible way for both art historians and the general public. In
Christian tradition, the feast of the Epiphany marks the revelation
of the divine nature of Jesus to the three kings from the East.
This feast was an extremely popular theme in fine art around the
year 1500. Numerous artists depicted the Adoration of the Magi with
exotic figures, elaborate clothing, and ornate objects. Hieronymus
Bosch portrayed the theme a number of times. Two paintings known to
be entirely by him have survived: one of them in the collection of
the Metropolitan Museum of Art (New York) and the other in the
Museo del Prado (Madrid). Both paintings were copied and imitated
from early on. This early appreciation from Bosch's own time is
striking. Over thirty early copies remain, making Bosch's
interpretation one of the most popular compositions from the Low
Countries of the later Middle Ages. The Bosch Research and
Conservation Project has studied a number of these copies very
closely. These important works by Bosch, and their influence, are
examined here in their cultural and historic context.
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Durer
(Paperback)
Jeffrey Chipps Smith
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R774
R499
Discovery Miles 4 990
Save R275 (36%)
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Ships in 12 - 17 working days
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Albrecht Durer (1471-1528) was the greatest artist of the Northern
European Renaissance. Durer's virtuoso woodcuts and engravings
ensured his fame throughout the Continent during his own lifetime.
Yet he also produced an extraordinary output in other media -
including painting, watercolour and drawing - which encompasses
riveting portraits and self-portraits, grand altarpieces and
meticulous studies of animals and nature. In this major new
monograph, Jeffrey Chipps Smith examines the myths that have
contributed to Durer's legend, considering his life and career
within the framework of a tumultuous epoch in European history.
Taking account of the extensive scholarship on the artist, Smith
provides fresh insights into many of his most notable works,
uncovering the creative process behind them and their wealth of
meanings and ideas. Central to Smith's focus is the historical and
cultural ferment of pre- and post-Reformation Europe, as he traces
Durer's formative years in the Imperial free city of Nuremberg and
his subsequent travels across Germany, Italy and the Netherlands.
The result is a vivid picture of the professional activity of a
prolific and psychologically complex figure. With its detailed
commentary and original research, this is both an authoritive and
an approachable monograph - indispensable for the student or
scholar, while certain to appeal to anyone interested in this
brilliant artist.
An exploration of Durer's career and legacy as an international
traveling artist The visual legacy of Durer's travels extends far
beyond his lifetime and throughout Europe, and the documents
illuminating them offer unique insights into the distinctive ways
Durer conducted and managed his career, making him an
intriguing-and even controversial-figure. This generously
illustrated book examines the career of preeminent Renaissance
artist Albrecht Durer (1471-1528) as an international traveler,
addressing his relations with artists from Italy to the Low
Countries, including Giovanni Bellini, Joos van Cleve, Jan
Gossaert, Lucas van Leyden, Quentin Massys, and Bernard van Orley.
Bringing together paintings, drawings and prints, the book examines
Durer as an artist-entrepreneur, explorer, and innovator of
artistic theory. Durer's treatises and letters, and his detailed
journal documenting his journey to the Low Countries in 1520-1,
offer insights into his artistic practices and encounters with
artists and patrons, as well as the nature of travel in the early
16th century. Published by National Gallery Company/Distributed by
Yale University Press Exhibition Schedule: The National Gallery,
London March 6, 2021 - June 13, 2021 Suermondt-Ludwig Museum,
Aachen July 18, 2021 - October 24, 2021
"Quite simply the most fascinating record of a '[fashion] victim'
one could hope for." The Spectator This captivating study
reproduces arguably the most extraordinary primary source documents
in fashion history. Providing a revealing window onto the
Renaissance, it chronicles how style-conscious accountant Matthaus
Schwarz and his son Veit Konrad experienced life through clothes,
and climbed the social ladder through fastidious management of
self-image. These bourgeois dandies' agenda resonates as powerfully
today as it did in the 16th century: one has to dress to impress,
and dress to impress they did. The Schwarzes recorded their
sartorial triumphs as well as failures in life in a series of
portraits by illuminists over 60 years, which have been
comprehensively reproduced in full color for the first time. These
exquisite illustrations are accompanied by the Schwarzes'
fashion-focussed yet at times deeply personal captions, which
render the pair the world's first fashion bloggers and pioneers of
everyday portraiture. The First Book of Fashion demonstrates how
dress - seemingly both ephemeral and trivial - is a potent tool in
the right hands. Beyond this, it colorfully recaptures the
experience of Renaissance life and reveals the importance of
clothing to the aesthetics and everyday culture of the period.
Historians Ulinka Rublack's and Maria Hayward's insightful
commentaries create an unparalleled portrait of 16th-century dress
that is both strikingly modern and thorough in its description of a
true Renaissance fashionista's wardrobe. This first English
translation also includes a bespoke pattern by TONY award-winning
costume designer and dress historian Jenny Tiramani, from which
readers can recreate one of Schwarz's most elaborate and
politically significant outfits.
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 'Young Woman with a Water Pitcher' by Vermeer.
Dutch Master Johannes Vermeer often painted scenes of domestic
life. This oil on canvas artwork was intended to depict the ideal
woman in the ideal home. The dominant use of primary colours
enhances the harmonious mood of the painting.
For the affluent merchant class of fifteenth-century Florence, the
education of future generations was a fundamental matter. Together
with texts, images played an important role in the development of
the young into adult citizens. In this book, Federico Botana
demonstrates how illustrated manuscripts of vernacular texts read
by the Florentine youth facilitated understanding and memorisation
of basic principles and knowledge. They were an important means of
acquiring skills then considered necessary to gain the respect of
others, to prosper as merchants, and to participate in civic life.
Botana focuses on illustrated texts that were widely read in
Quattrocento Florence: the Fior di virtu (a moral treatise
including a bestiary), the Esopo volgarizzato (Aesop's Fables in
Tuscan), the Sfera by Goro Dati (a poem on cosmology and
geography), and mathematical manuals known as libri d'abbaco. He
elucidates, in light of original sources and medieval and modern
cognitive theory, the mechanisms that empowered illustrations to
transmit knowledge in the Italian Renaissance.
Jacopo Tintoretto (1518/19-1594) was among the most distinctive
artists of the Italian Renaissance. Yet, although his bold
paintings are immediately recognizable, his drawings remain
unfamiliar even to many scholars. Drawing in Tintoretto's Venice
offers a complete overview of Tintoretto as a draftsman. It begins
with a look at drawings by Tintoretto's precedents and
contemporaries, a discussion intended to illuminate Tintoretto's
sources as well as his originality, and also to explore the
historiographical and critical questions that have framed all
previous discussion of Tintoretto's graphic work. Subsequent
chapters explore Tintoretto's evolution as a draftsman and the role
that drawings played in his artistic practice-both preparatory
drawings for his paintings and the many studies after sculptures by
Michelangelo and others-thus examining the use of drawings within
the studio as well as teaching practices in the workshop. Later
chapters focus on the changes to Tintoretto's style as he undertook
ever larger commissions and accordingly began to manage a growing
number of assistants, with special attention paid to Domenico
Tintoretto, Palma Giovane, and other artists whose drawing style
was infl uenced by their time working with the master. The book is
published in conjunction with the exhibition Drawing in
Tintoretto's Venice, opening at the Morgan Library& Museum, New
York, in 2018 and travelling to the National Gallery of Art,
Washington, in early 2019. All of the drawings in the exhibition
are discussed and illustrated, and a checklist of the exhibition is
also included in the volume, but the book is a far more widely
ranging account of Tintoretto's drawings and a comprehensive
account of his work as a draftsman.
This volume explores the late medieval and early modern periods
from the perspective of objects. While the agency of things has
been studied in anthropology and archaeology, it is an innovative
approach for art historical investigations. Each contributor takes
as a point of departure active things: objects that were collected,
exchanged, held in hand, carried on a body, assembled, cared for or
pawned. Through a series of case studies set in various geographic
locations, this volume examines a rich variety of systems
throughout Europe and beyond. The Open Access version of this book,
available at
http://www.taylorfrancis.com/doi/view/10.4324/9781315401867, has
been made available under a Creative Commons Attribution-Non
Commercial-No Derivatives 4.0 license
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.
The fifteenth-century Italian artist Piero della Francesca painted
a familiar world. Roads wind through hilly landscapes, run past
farms, sheds, barns, and villages. This is the world in which Piero
lived. At the same time, Piero's paintings depict a world that is
distant. The subjects of his pictures are often Christian and that
means that their setting is the Holy Land, a place Piero had never
visited. The Realism of Piero della Francesca studies this
paradoxical aspect of Piero's art. It tells the story of an artist
who could think of the local churches, palaces, and landscapes in
and around his hometown of Sansepolcro as miraculously built
replicas of the monuments of Jerusalem. Piero's application of
perspective, to which he devoted a long treatise, was meant to
convince his contemporaries that his paintings report on things
that Piero actually observed. Piero's methodical way of painting
seems to have offered no room for his own fantasy. His art looks
deliberately styleless. This book uncovers a world in which
painting needed to validate itself by cultivating the illusion that
it reported on things observed instead of things imagined by the
artist. Piero's painting claimed truth in a world of increasing
uncertainties.
A comprehensive survey of the work of this most influential
Florentine artist and teacher Andrea del Verrocchio (c. 1435-1488)
was one of the most versatile and inventive artists of the Italian
Renaissance. He created art across media, from his spectacular
sculptures and paintings to his work in goldsmithing, architecture,
and engineering. His expressive, confident drawings provide a key
point of contact between sculpture and painting. He led a vibrant
workshop where he taught young artists who later became some of the
greatest painters of the period, including Leonardo da Vinci,
Sandro Botticelli, Lorenzo di Credi, and Domenico Ghirlandaio. This
beautifully illustrated book presents a comprehensive survey of
Verrocchio's art, spanning his entire career and featuring some
fifty sculptures, paintings, and drawings, in addition to works he
created with his students. Through incisive scholarly essays,
in-depth catalog entries, and breathtaking illustrations, this
volume draws on the latest research in art history to show why
Verrocchio was one of the most innovative and influential of all
Florentine artists. Published in association with the National
Gallery of Art, Washington, DC
ART AND ARCHITECTURE OF IRELAND is an authoritative and fully
illustrated survey that encompasses the period from the early
Middle Ages to the end of the 20th century. The five volumes
explore all aspects of Irish art - from high crosses to
installation art, from illuminated manuscripts to Georgian houses
and Modernist churches, from tapestries and sculptures to oil
paintings, photographs and video art. This monumental project
provides new insights into every facet of the strength, depth and
variety of Ireland's artistic and architectural heritage. MEDIEVAL
c. 400-c. 1600 An unrivalled account of all aspects of the rich and
varied visual culture of Ireland in the Middle Ages. Based on
decades of original research, the book contains over 300 lively and
informative essays and is magnificently illustrated. Readers will
enjoy expanding their knowledge of medieval Ireland through
explorations of the objects and buildings produced there and the
people who created them. Published for the Paul Mellon Centre for
Studies in British Art in association with the Royal Irish Academy
Are there miscarriages of justice in art history? Neil MacGregor
believes there are. However great an artist, if his name is lost he
will not receive a fair verdict from posterity. No exhibition will
be devoted to his work; no books will be written about him; he will
not even figure in indexes. Among these neglected geniuses is the
15th-century painter known only as the Master of the Saint
Bartholomew Altarpiece. He may have been Netherlandish or German;
he may or may not have been a monk. On stylistic grounds an oeuvre
of half a dozen paintings, three of them large altarpieces, are
attributed to him, and from them a vivid, if hypothetical,
personality can be built up: emotional, compassionate, observant,
original, humorous. All that is certain is that he was a great
painter whose name, if known, would rank with Botticelli or
Holbein. In A Victim of Anonymity, the Director of the National
Gallery, London, corrects the judgment of history by demonstrating
the power of this unacknowledged master. MacGregor makes us look
closely at works that are all too easily passed over, showing us a
peerless artist whose paintings derive their fame from nothing but
their own superlative merits.
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