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The first half of this stunning new book explores Michelangelo's fascinating life through his family, friends, patrons and commissions. Born near Florence in 1475 Michelangelo grew up surrounded by new forms of architecture, painting and sculpture. His influences and achievements are explained clearly and comprehensively with informative and attractive illustrations throughout. The second half of the book contains a comprehensive gallery of over 300 of his major works of sculpture, painting and architecture. These superb reproductions are accompanied by thorough analysis of each artwork and its significance with the context of Michelangelo's life, his technique and his body of work as a whole.
This volume provides a fascinating study of the iconography of
altarpieces and the artistic collaboration between Jews and
Christians. In the multi-cultural society of late medieval Spain,
Jewish and Christian artists worked together to produce retablos
(large multi-paneled altarpieces) as well as Latin and Hebrew
Michelangelo was one of the biggest international art stars of his time, but being Michelangelo was no easy thing: he was stalked by fans, lauded and lambasted by critics, and depicted in unauthorized portraits. Still Lives traces the process by which artists such as Michelangelo, Durer, and Titian became early modern celebrities. Artists had been subjects of biographies since antiquity, but Renaissance artists were the first whose faces were sometimes as recognizable as their art. Maria Loh shows how this transformation was aided by the rapid expansion of portraiture and self-portraiture as independent genres in painting and sculpture. She examines the challenges confronting artists in this new image economy: What did it mean to be an image maker haunted by one's own image? How did these changes affect the everyday realities of artists and their workshops? And how did images of artists contribute to the way they envisioned themselves as figures in a history that would outlive them? Richly illustrated, Still Lives is an original exploration of the invention of the artist portrait and a new form of secular stardom.
Giovanni Andrea Gilio's "Dialogue on the Errors and Abuses of Painters" (1564) is one of the first treatises on art published in the post-Tridentine period. It remains a key primary source for the discussion of the reform of art as it unfolded at the time of the Council of Trent and the Catholic Reformation. Relatively little is known about Gilio himself, a cleric from Fabriano, Italy, although he was evidently familiar with Cardinal Alessandro Farnese's lively court circle in Rome as he dedicated his book to the cardinal. His text-available in English in full for the first time-takes the form of a spirited dialogue among six protagonists, using the voices of each to present different points of view. Through their dialogue Gilio grapples with a host of issues, from the relationship between poetry and painting, to the function of religious images, to the effects such images have on viewers. The primary focus is the proper representation of history, and Michelangelo's Last Judgment fresco in the Sistine Chapel is the exemplary case. Indeed, Michelangelo's painting is both praised and condemned as an example of the possibilities and limits of art. Although Gilio's dialogue is often quoted by art historians to point out the more controlling view of art and artists by the Roman Catholic Church, the unabridged text reveals the nuanced and provisional debates, happening during this critical era.
Francesco Vanni (1563/64-1610) was the most important artist in Siena at the turn of the 17th century. His works combine dazzling technical virtuosity and brilliant coloring with the naturalistic approach employed by his more famous contemporaries Annibale Carracci and Caravaggio. He painted altarpieces for every significant church in Siena, as well as for Saint Peter's and other churches in Rome. Beautifully illustrated and featuring new research, Francesco Vanni: Art in Late Renaissance Siena is the definitive resource on the artist. John Marciari investigates Vanni's career, including his connections with patrons and his adaptation of traditional subject matter to serve the Counter-Reformation. Suzanne Boorsch explores Vanni's engagement with printmakers and the dissemination of his compositions through prints. The catalogue examines more than 80 paintings, drawings, and prints, including the Madonna della Pappa, one of Vanni's masterpieces, acquired by the Yale University Art Gallery in 2003.
Giambologna (1529 - 1606) is regarded as the most important European sculptor between Michelangelo and Bernini. How did he achieve this status? This volume investigates this question and examines above all Giambologna's study of Michelangelo, his all-powerful role model, and how he successfully prevailed. The young Flemish artist Giambologna most probably embarked on his study trip to Rome in 1550. On his way home he visited Florence, decided to stay and became the star at the Medici court. They sent his sculptures to the princely courts of Europe, where they became sought-after gifts. Although we know a great deal about his success, we know little of his early years in Italy, because he first appeared on the scene as a sculptor from about 1560. The alabaster figures after Michelangelo's "Times of Day" in Dresden, hitherto largely ignored, seem to be early works by the master sculptor. An examination of these sculptures promises to shed fresh light on the development of a genius.
The reputation of Leonardo da Vinci (1452-1519) as an inventor and scientist, and his complex personality, have sometimes almost overshadowed the importance of his aims and techniques as a painter. This exquisite book focuses on a crucial period in the 1480s and 90s when, as a salaried court artist to Duke Ludovico Sforza in the city-state of Milan--freed from the pressures of making a living in the commercially minded Florentine republic--Leonardo produced some of the most celebrated and influential works of his career. "The Last Supper," his two versions of "The Virgin of the Rocks," and "The Lady with an Ermine" (a beautiful portrait of Cecilia Gallerani, Ludovico's mistress) were paintings that set a new standard for his Milanese contemporaries. Leonardo's style was magnified, through collaboration and imitation, to become the visual language of the regime, and by the time he returned to Florence in 1500, his status had been utterly transformed.
This new examination of Leonardo's painting career and his lasting impact on Italian Renaissance style features works from U.S., British, and European collections. Collectively, they represent the diverse range of his artistic output, from drawings in chalk, ink, and metalpoint to full-scale oil paintings. Together with the authors' meticulous research and detailed analysis, they demonstrate Leonardo's consummate skill and extraordinary ambition as a painter.
Italian-born Michelangelo di Lodovico Buonarroti Simoni (1475-1564) was a tormented, prodigiously talented, and God-fearing Renaissance man. His manifold achievements in painting, sculpture, architecture, poetry, and engineering combined body, spirit, and God into visionary masterpieces that changed art history forever. Famed biographer Giorgio Vasari considered him the pinnacle of Renaissance achievement. His peers called him simply "Il Divino" ("the divine one"). This book provides the essential introduction to Michelangelo with all the awe-inspiring masterpieces and none of the queues and crowds. With vivid illustration and accessible texts, we explore the artist's extraordinary figuration and celebrated style of terribilita (momentous grandeur), which allowed human and biblical drama to exist in compelling scale and fervor. Through the power hubs of Renaissance Italy, we take in his major commissions and phenomenal capacity for compositional schemes, whether the famous Medici library in Florence, or the extraordinary 500-square-meter ceiling (1508-1512) in the Vatican's Sistine Chapel. From the towering David to the aching grief and faith of The Pieta and the vivid drama of the Sistine Chapel's Last Judgment, this is a succinct, dependable reference to a true giant of art history and to some of the most famous artworks in the world.
Dress became a testing ground for masculine ideals in Renaissance Italy. With the establishment of the ducal regime in Florence in 1530, there was increasing debate about how to be a nobleman. Was fashionable clothing a sign of magnificence or a source of mockery? Was the graceful courtier virile or effeminate? How could a man dress for court without bankrupting himself? This book explores the whole story of clothing, from the tailor's workshop to spectacular court festivities, to show how the male nobility in one of Italy's main textile production centers used their appearances to project social, sexual, and professional identities. Sixteenth-century male fashion is often associated with swagger and ostentation but this book shows that Florentine clothing reflected manhood at a much deeper level, communicating a very Italian spectrum of male virtues and vices, from honor, courage, and restraint to luxury and excess. Situating dress at the heart of identity formation, Currie traces these codes through an array of sources, including unpublished archival records, surviving garments, portraiture, poetry, and personal correspondence between the Medici and their courtiers. Addressing important themes such as gender, politics, and consumption, Fashion and Masculinity in Renaissance Florence sheds fresh light on the sartorial culture of the Florentine court and Italy as a whole.
Titian Remade explores imitation and the modern cult of originality through a consideration of the disparate fates of two Venetian painters: the canonized master Titian (ca. 1488-1576) and his artistic heir, the now-unremarked Padovanino (1588-1649). Reading the latter's Sleeping Venus (1610), triumph (1620), and Self-Portrait (ca. 1630) against corresponding works by Titian, Maria H. Loh argues the case for repetition as a positive act of artistic self-definition. Her history of creative emulation and engaged viewing in early modern visual culture offers a profound vision of art as a continual process of retrieval and projection that effectively bonds the present to the past and the self to the other.
"Renaissance Art Reconsidered" showcases the aesthetic principles
and the workaday practices guiding daily life through these years
of extraordinary human achievement.
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."
Princeton University first started collecting Western manuscripts
in 1876 and continues to this day with the specific aim of
developing a research and teaching tool. That unique collection of
medieval manuscripts forms the nucleus of this collection of
essays. Stretching from Ottonian to the late Gothic-early
Renaissance periods, these studies examine the secular as well as
the religious and look at a variety of themes, from the book of
hours to the grisaille manuscript. The studies all attempt to place
the university's collection in the broader framework of manuscript
studies, and a number of them deal with general topics not
represented within the manuscript library. Written by some of the
most celebrated scholars in the field, the studies make every
effort to help us understand the power of the written and
Lorenzo de' Medici was a key figure in the creation of the Renaissance. An important patron of the arts in fifteenth century Florence, he was also a passionate collector of objects from antiquity and the post-antique period. His activities as a collector are documented in a group of 173 letters, previously unknown and published here for the first time, which provide the most complete picture of a well-known and historically important collector. As revealed in these letters, Lorenzo acquired sculpture to embellish his palace, but his real predilection was for small objects: coins, hardstone vases, and gems. His main source was the Roman dealer Giovanni Ciampolini, whose scandalous behavior demonstrates the gamesmanship of the art market. This book reveals how objects were studied, where they were displayed, the criteria for their selection, and their monetary worth.
This superb book presents 100 notable examples from the Harvard Art Museums' distinguished collection of Dutch, Flemish, and Netherlandish drawings from the 16th to 18th century. Featuring such masters as Pieter Bruegel the Elder, Peter Paul Rubens, and Rembrandt van Rijn, the volume showcases beautiful color illustrations accompanied by insightful commentary on prevalent styles and techniques. Genres that define this artistic period-landscape, scenes of everyday life, portraiture, and still life-are explored in detail. The book also presents the results of new conservation and technical study, including infrared analysis and scientific examinations of drawing materials. This revelatory new research has allowed previously illegible underdrawings and inscriptions in many of the artworks to surface for the first time, shedding light on longstanding mysteries of production and provenance.
Great halls and hovels, dove-houses and sheepcotes, mountain cells and seaside shelters--these are some of the spaces in which Shakespearean characters gather to dwell, and to test their connections with one another and their worlds. Julia Reinhard Lupton enters Shakespeare's dwelling places in search of insights into the most fundamental human problems. Focusing on five works (Romeo and Juliet, Macbeth, Pericles, Cymbeline, and The Winter's Tale), Lupton remakes the concept of dwelling by drawing on a variety of sources, including modern design theory, Renaissance treatises on husbandry and housekeeping, and the philosophies of Hannah Arendt and Martin Heidegger. The resulting synthesis not only offers a new entry point into the contemporary study of environments; it also shows how Shakespeare's works help us continue to make sense of our primal creaturely need for shelter.
Today Renaissance-era prints are typically preserved behind glass or in solander boxes in museums, but these decorative objects were once a central part of everyday life. "Altered and Adorned "is a delightful, surprising look at how prints were used: affixed on walls; glued into albums, books, and boxes; annotated; hand-colored; or cut apart.
This handsome volume introduces readers to the experimental world of printmaking in the mid-15th and 16th centuries and the array of objects it inspired, from illustrated books, sewing patterns, and wearable ornaments to printed sundials and anatomical charts. It features many never-before-published treasures from the Art Institute of Chicago's rich permanent collection, along with essays on the ways prints functioned--in some cases as three-dimensional and interactive works--and how their condition communicates their use.
The 177 essays in these two richly illustrated volumes represent the cutting edge of Italian Renaissance scholarship in nearly every one of its fields and were gathered to honor Joseph Connors, Director of Villa I Tatti from 2002 to 2010. Demonstrating I Tatti's pivotal role as the world's leading center for Italian Renaissance studies, the essays cover all the branches of art history, as well as many aspects of political, economic, and social history, literature, and music, from the early Renaissance to the eighteenth century. Appropriately, the volumes also include a selection of contributions devoted to Bernard Berenson and his legacy as both a collector and a scholar. Each of the authors--a group representing dozens of countries--was a Fellow or associate of the Harvard University Center for Italian Renaissance Studies during the eight years in which Connors served as Director.
Few paintings inspire the kind of intense study and speculation as Garden of Earthly Delights, the world famous triptych by Netherlandish master Hieronymus Bosch. The painting has been interpreted as a heretical masterpiece, an opulent illustration of the Creation and a premonition of the end of the world. In this book, renowned art historian Hans Belting offers a radical reinterpretation of the work, which he sees not as apocalyptic, but utopian, portraying how the world would exist had the Fall not happened. Taking readers through each panel, Belting discusses various schools of thought and explores Bosch's life and times. This fascinating study is an important contribution to the literature and theory surrounding one of the world's most enigmatic artists.
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