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Books > Arts & Architecture > History of art / art & design styles > 1400 to 1600
What was the role of art in the context of rapidly changing
political alliances of the early modern period? The
interdisciplinary contributions to this volume explore this
question from the perspectives of "War and Peace," "Jesuits and
Diplomacy," "Negotiating with Faith," and "Court and Diplomatic
Celebrations". Special attention is paid to those art genres that
were suitable for easy distribution due to their reproducibility,
such as medals and prints. But also paintings, tombs and ephemeral
festivities like fireworks served the manifestation of claims to
power. The exemplary analyses provide a broad view of the political
dimensions of early modern transcultural artistic exchange in
Europe and beyond.
A brilliant colorist and masterful storyteller, Dutch mannerist
Joachim Wtewael (1566-1638) wielded a remarkably skilled brush and
the technical ability to show it off in intricate compositions. He
took inspiration from a wide range of biblical and mythological
sources to create imaginative, often quite erotic scenes. While
such pictures were prized in Wtewael's time, more recently they
were hidden away--behind other paintings, in leather folders on
bookshelves, and in the reserves of great museums. This richly
illustrated volume brings together more than fifty of Wtewael's
finest paintings and drawings, from a small jewel-like picture on
copper depicting Mars and Venus to large-scale mannerist showpieces
such as The Martyrdom of Saint Sebastian and Perseus and Andromeda.
A pillar of the Utrecht community, Wtewael was engaged in business,
religion, and politics as well as art. He adopted the exotic
mannerist style, full of artifice and inventive manipulation, and
continued to be fascinated by the challenge of creating
sophisticated variations well into his maturity, when other Dutch
artists had turned to naturalism. This book explores Wtewael's
amazingly refined and detailed paintings and drawings, shedding
light on his reputation, his life, and the conflicted times--marked
by iconoclasm and strife--in which he thrived. Exhibition schedule:
*Centraal Museum Utrecht, February 21-May 25, 2015*National Gallery
of Art, Washington, June 28-October 4, 2015* Sarah Campbell Blaffer
Foundation at the Museum of Fine Arts, Houston, November 1,
2015-January 31, 2016
Michelangelo's masterpiece The Dream ( Il Sogno) has been described
as one of the finest of all Italian Renaissance drawings and is
amongst The Courtauld Gallery's greatest treasures. Executed in c.
1533, The Dream exemplifies Michelangelo's unrivalled skill as
draftsman. Accompanying an exhibition at the Courtauld in 2010,
this catalogue examines this celebrated work in the context of a
group of closely related drawings by Michelangelo, as well as some
of his original letters and poems and works by his contemporaries.
The Dream is one of Michelangelo's 'presentation drawings', a
magnificent and famous group of highly refined compositions which
the artist gave to his closest friends. These beautiful and complex
works transformed drawings into an independent art form and are
amongst Michelangelo's very finest creations in any medium. The
Dream was probably one of a superb group made for a young Roman
nobleman with whom Michelangelo was in love, Tommaso de' Cavalieri,
who was celebrated for his outstanding beauty, gracious manners and
intellect. This group is studied in the book and includes The
Punishment of Tityus, The Fall of Phaeton, A Bacchanal of Children
and The Rape of Ganymede. In his Life of Michelangelo (1568) the
biographer and artist Giorgio Vasari praised these exceptional
works as "drawings the like of which have never been seen" - and
they are still regarded as amongst the greatest single series of
drawings ever made.
From the strictly regimented church bells to the freewheeling
chatter of civic life, Renaissance Florence was a city built not
just of stone but of sound as well. An evocative alternative to the
dominant visual understanding of urban spaces, The Noisy
Renaissance examines the premodern city as an acoustic phenomenon
in which citizens used sound to navigate space and society.
Analyzing a range of documentary and literary evidence, art and
architectural historian Niall Atkinson creates an "acoustic
topography" of Florence. The dissemination of official messages,
the rhythm of prayer, and the murmur of rumor and gossip combined
to form a soundscape that became a foundation in the creation and
maintenance of the urban community just as much as the city's
physical buildings. Sound in this space triggered a wide variety of
social behaviors and spatial relations: hierarchical, personal,
communal, political, domestic, sexual, spiritual, and religious. By
exploring these rarely studied soundscapes, Atkinson shows Florence
to be both an exceptional and an exemplary case study of urban
conditions in the early modern period.
Did ordinary Italians have a 'Renaissance'? This book presents the
first in-depth exploration of how artisans and small local traders
experienced the material and cultural Renaissance. Drawing on a
rich blend of sixteenth-century visual and archival evidence, it
examines how individuals and families at artisanal levels (such as
shoemakers, barbers, bakers and innkeepers) lived and worked,
managed their household economies and consumption, socialised in
their homes, and engaged with the arts and the markets for luxury
goods. It demonstrates that although the economic and social status
of local craftsmen and traders was relatively low, their material
possessions show how these men and women who rarely make it into
the history books were fully engaged with contemporary culture,
cultural customs and the urban way of life.
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.
Michelangelo was, apart from being a sculptor, architect, and
painter of genius, a poet and letter-writer of remarkable
accomplishment. George Bull, a distinguished translator of many
Italian classics, has brought his skill and experience to bear on
translating this new selection of Michelangelo's letters and
poetry, as well as the Life, the biography written by
Michelangelo's pupil Ascanio Condivi.
About the Series: For over 100 years Oxford World's Classics has
made available the broadest spectrum of literature from around the
globe. Each affordable volume reflects Oxford's commitment to
scholarship, providing the most accurate text plus a wealth of
other valuable features, including expert introductions by leading
authorities, voluminous notes to clarify the text, up-to-date
bibliographies for further study, and much more.
The interpretation of paintings--especially of Old Masters--has
occupied art historians for generations. Rarely, however, have they
attempted to place the subject of their research in its wider
political and international context. So what can we learn, for
example, about the state of 15th-century Europe by studying some of
the great paintings of the time?
In this innovative work, Abolala Soudavar examines seven paintings
by some of the great masters of the 15th century and demonstrates
how we can better understand the state of international relations
and the political rivalries of the time by decoding the figures,
their postures and gestures, the background scenes, the
compositions and much else in these paintings. The result offers
some extraordinary solutions to long-standing puzzles, which
illuminate both the paintings and our understanding of the period.
By decoding these paintings, Soudavar has altered the landscape of
our understanding of 15th-century Art and opened the door to a kind
of political and historical analysis of high culture which will
affect how we study the history of art in future generations.
Influenced by a revival of interest in Greco-Roman ideals and
sponsored by a newly prosperous merchant class, fifteenth-century
artists produced works of astonishingly innovative content and
technique. The International Gothic style of painting, still
popular at the beginning of the century, was giving way to the
influence of Early Netherlandish Flemish masters such as Jan van
Eyck, who emphasized narrative and the complex use of light for
symbolic meaning. Patrons favored paintings in oil and on wooden
panels for works ranging from large, hinged altarpieces to small,
increasingly lifelike portraits.
In the Italian city-states of Florence, Venice, and Mantua,
artists and architects alike perfected existing techniques and
developed new ones. The painter Masaccio mastered linear
perspective; the sculptor Donatello produced anatomically correct
but idealized figures such as his bronze nude of David; and the
brilliant architect and engineer Brunelleschi integrated Gothic and
Renaissance elements to build the self-supporting dome of the
Florence Cathedral.
This beautifully illustrated guide analyzes the most important
people, places, and concepts of this early Renaissance period,
whose explosion of creativity was to spread throughout Europe in
the sixteenth century.
Produced for the Association Internationale de Bibliophilie, this
book traces the development of the early Ottoman style under
influence from their neighbors; the impact of the patronage of
Sultan Mehmed the Conqueror; and the development of the "classical"
style under his successor Bayezid II. The book includes beautiful
illustrations of 41 masterpieces of bookbinding with technical
appendices, bibliography, concordance, and index. Julian Raby is
director of the Freer Gallery, Washington, DC.
A fifteenth-century Flemish painter who spent most of his life in
Bruges, van Eyck was revered for his innovative manipulation of oil
paint. 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 oeuvre.
A Prayer Book owned by the Rothschilds, an Italian bronze casket by
Antico, a lavishly illustrated Carnival chronicle from
sixteenth-century Germany, an altarpiece by Pieter Brueghel the
Younger - much of the artwork in this book, held by Australian
collections, is essentially unknown beyond the continent. The
authors of these essays showcase these extraordinary objects to
their full potential, revealing a wide range of contemporary art
and historical research. This collection of essays will surprise
even specialists.
This monograph is the first title in a new series titled Opera
Maestra, specifically focused on the work and itinerary of the
artists who made history, from an unprecedented perspective. The
series begins with Leonardo da Vinci, captured by the expert Marco
Versiero. At the core the analysis is the specific soul, among the
thousands of Leonardo's, that Marco Versiero wants to underline:
his mirror-soul; namely, Leonardo's eye between Human and Nature.
In other words, the eye that allowed the artist to mediate between
his favourite dimensions (the human and the natural one), and
allowed them to communicate with each other without cancelling
themselves, but rather managing to reflect one in the other's
light, like in front of a mirror. An essential biographical note
introduces the reader to Marco Versiero's pages, enriched with 61
detailed pictures. The pictures, proposing not only a selection of
Leonardo's paintings but also of his drawings, enhanced with
comprehensive captions, tell the itinerary of the genius from the
years of his apprenticeship in Verrocchio's workshop till the days
of his maturity.
Leonardo da Vinci, A Memory of His ChildhoodSigmund Freud Leonardo
da Vinci and A Memory of His Childhood (German: Eine
Kindheitserinnerung des Leonardo da Vinci) is a 1910 essay by
Sigmund Freud about Leonardo da Vinci. It consists of a
psychoanalytic study of Leonardo's life based on his paintings.In
the Codex Atlanticus Leonardo recounts being attacked as an infant
in his crib by a bird. Freud cites the passage as:"It seems that it
had been destined before that I should occupy myself so thoroughly
with the vulture, for it comes to my mind as a very early memory,
when I was still in the cradle, a vulture came down to me, he
opened my mouth with his tail and struck me a few times with his
tail against my
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Reading Vasari
(Hardcover)
Anne B. Barriault, Andrew Ladis, Norman E. Land, Jeryldene M. Wood
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R2,189
Discovery Miles 21 890
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Ships in 12 - 17 working days
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This book explores the rich literary character and rhetorical
strategies of Giorgio Vasari's "Lives of the Most Eminent Painters,
Sculptors, and Architects," which tells the story of Italian art as
it unfolded from its beginnings in the Trecento to its pinnacle in
Michelangelo and the art of the Academy in the mid-sixteenth
century. The contributors propose ways to read Vasari's text in the
light of recent disputes over what is fact, fiction, or biography,
and who may have read Vasari's editions when they were first
published. The essays isolate and analyze select threads from
Vasari's luxurious textual tapestry: these range from architecture,
cosmology and philosophy to biography, comedy, elegy and
travelogue. In doing so, the authors have built upon ideas proposed
in recent studies of the "Lives," including important works by Paul
Barolsky and Patricia Rubin.
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