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Books > Arts & Architecture > History of art / art & design styles > 1400 to 1600 > Renaissance art > General
Cities are shaped as much by a repertoire of buildings, works and
objects, as by cultural institutions, ideas and interactions
between forms and practices entangled in identity formations. This
is particularly true when seen through a city as forceful and
splendid as Venice. The essays in this volume investigate these
connections between art and identity, through discussions of
patronage, space and the dissemination of architectural models and
knowledge in Venice, its territories and beyond. They celebrate
Professor Deborah Howard's leading role in fostering a historically
grounded and interdisciplinary approach to the art and architecture
of Venice. Based on an examination and re-interpretation of a wide
range of archival material and primary sources, the contributing
authors approach the notion of identity in its many guises: as
self-representation, as strong sub-currents of spatial strategies,
as visual and semantic discourses, and as political and imperial
aspirations. Employing interdisciplinary modes of interpretation,
these studies offer ground-breaking analyses of canonical sites and
works of art, diverse groups of patrons, as well as the life and
oeuvre of leading architects such as Jacopo Sansovino and Andrea
Palladio. In so doing, they link together citizens and nobles, past
and present, the real and the symbolic, space and sound, religion
and power, the city and its parts, Venice and the Stato da Mar, the
Serenissima and the Sublime Port.
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.
The first comprehensive account of how and why architects learned
to communicate through color Architectural drawings of the Italian
Renaissance were largely devoid of color, but from the seventeenth
century through the nineteenth, polychromy in architectural
representation grew and flourished. Basile Baudez argues that
colors appeared on paper when architects adapted the pictorial
tools of imitation, cartographers' natural signs, military
engineers' conventions, and, finally, painters' affective goals in
an attempt to communicate with a broad public. Inessential Colors
traces the use of color in European architectural drawings and
prints, revealing how this phenomenon reflected the professional
anxieties of an emerging professional practice that was
simultaneously art and science. Traversing national borders, the
book addresses color as a key player in the long history of rivalry
and exchange between European traditions in architectural
representation and practice. Featuring a wealth of previously
unpublished drawings, Inessential Colors challenges the
long-standing misreading of architectural drawings as illustrations
rather than representations, pointing instead to their inherent
qualities as independent objects whose beauty paved the way for the
visual system architects use today.
Between 1480 and 1520, a concentration of talented artists, including Bramante, Raphael and Michelangelo, arrived in Rome and produced some of the most enduring works of art ever created. In this study, Ingrid Rowland examines the culture, society, and intellectual norms that generated the High Renaissance. Fueled by a volatile mix of economic development, longing for ancient civilization, and religious ferment, the High Renaissance, Rowland posits, was also a period in which artists sought "new methods for doing new things."
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.
Italian Renaissance art is closely intertwined with the development
of courts and court culture in much of the Italian territory. The
patronage of the ruling families of the small Italian city-states
greatly favored the flourishing of the figurative arts and
architecture, but also in music, literature, and theater. The book
starts with an introduction by Marco Folin, the volume's editor, on
the critical issues of court art and its historiography, followed
by an important essay on the historical and geographical framework
of Renaissance Italy, illustrated by 18 especially-made maps,
useful to understand the complexity and fragmentation of the
country in the 15th century. The role of princely patronage in the
development of music and literature is then examined: from the
place of the humanists at court to the link between music and
propaganda, from the first theatrical representations to the rise
of the printing press and the publication of the most famous
Renaissance books: Castiglione's Book of the Courtier and Ariosto's
Orlando Furioso. The second, longer part of the volume, is arranged
geographically and covers the entire peninsula, giving attention
not only to the major courts, such as Milan, Mantua, Ferrara,
Urbino, papal Rome, Naples and the crypto-court of the Medici in
Florence, but devoting chapters to the minor courts spread around
northern and central Italy, from the Paleologues rulers of
Montferrat to the Malatesta court in Rimini, from Carpi under the
Pios to the Orsinis' rule in Bracciano. The main chapters are
enriched by texts focused on particular aspects of Renaissance
culture and politics: the courts of the cardinals and the southern
barons, the patronage of the condottieri, the specificity of
Venetian state-commissions, etc. The essays are written by
well-known Italian scholars - such as Franco Piperno on music,
Rinaldo Rinaldi on literature, Alessandro Cecchi on Medicean
Florence and Alessandro Angelini on the papal court in Rome - and
are accompanied by a rich and accurate iconography, showing not
only famous masterpieces but also lesser known works of art and
architecture. The book is completed by an annotated bibliography
for the various chapters and by an index of names and places.
46 outstanding studies, including sketches for David, Sistine Ceiling, Last Judgment, etc. Nudes, figure studies, children, animals, mythical and religious works, more. New volume in Dover Art Library affords insight into mastery of proportion, anatomy, perspective, shading, contrast. Essential for artists, museum-goers.
This generously illustrated volume on the work of Leonardo da Vinci
makes the world's greatest art accessible to readers of every level
of appreciation. Although less than twenty of Leonardo da Vinci's
paintings are known to exist today, some of them-the Mona Lisa, The
Last Supper, along with his drawing of the Vitruvian man-are among
the most identifiable, reproduced, and popular works in the world.
This monograph explores Leonardo as not just a painter but also a
scientist, naturalist, architect, and engineer, showing how the
artist's oeuvre reflected his boundless curiousity and imagination.
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. 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.
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. About the series
Bibliotheca Universalis - Compact cultural companions celebrating
the eclectic TASCHEN universe!
In this masterly, Howard Hibbard relates Michelangelo's art to his
life and to the times in which he lived, relying on the earliest
biographies and the latest scholarly research as well as on
Michelangelo's own letters and poems. What emerges is both a
perspective appraisal of his work and a revealing life history of
the man who was arguably the greatest artist of all time.
An illuminating look at a fundamental yet understudied aspect of
Italian Renaissance painting The Italian Renaissance picture is
renowned for its depiction of the human figure, from the dramatic
foreshortening of the body to create depth to the subtle blending
of tones and colors to achieve greater naturalism. Yet these
techniques rely on a powerful compositional element that often goes
overlooked. Groundwork provides the first in-depth examination of
the complex relationship between figure and ground in Renaissance
painting. "Ground" can refer to the preparation of a work's
surface, the fictive floor or plane, or the background on which
figuration occurs. In laying the material foundation, artists
perform groundwork, opening the ground as a zone that can precede,
penetrate, or fracture the figure. David Young Kim looks at the
work of Gentile da Fabriano, Giovanni Bellini, Giovanni Battista
Moroni, and Caravaggio, reconstructing each painter's methods to
demonstrate the intricacies involved in laying ground layers whose
translucency and polychromy permeate the surface. He charts
significant transitions from gold ground painting in the Trecento
to the darkened grounds in Baroque tenebrism, and offers close
readings of period texts to shed new light on the significance of
ground forms such as rock face, wall, and cave. This beautifully
illustrated book reconceives the Renaissance picture, revealing the
passion and mystery of groundwork and discovering figuration beyond
the human figure.
This is a long-awaited and authoritative reinterpretation of the
early life and career of arguably the greatest artist in history.
Author John T. Spike surveys Michelangelo's early life from birth
to his early thirties, probing the thinking, artistic evolution and
yearnings of a young man thoroughly convinced of his own
exceptional talent. Spike explores Michelangelo's involvement in
the most troubling controversies of his age, and recreates Florence
and Rome with vivid sketches of Lorenzo the Magnificent, Leonardo,
Julius II and Machiavelli. This is a prodigiously informative and
compelling account that will fulfil the need for a major
Michelangelo biography for this generation and many to come.
A deft reinterpretation of the most zealously interpreted picture
in the Western canon as a therapeutic artifact. Albrecht Durer's
famous portrayal of creative effort in paralysis, the unsurpassed
masterpiece of copperplate engraving titled Melencolia I, has stood
for centuries as a pictorial summa of knowledge about the
melancholic temperament, a dense allegory of the limits of
earthbound arts and sciences and the impossibility of attaining
perfection. Dubbed the "image of images" for being the most
zealously interpreted picture in the Western canon, Melencolia I
also presides over the origins of modern iconology, art history's
own science of meaning. Yet we are left with a clutter of mutually
contradictory theories, a historiographic ruin that confirms the
mood of its object. In Perfection's Therapy, Mitchell Merback
reopens the case file and argues for a hidden intentionality in
Melencolia's opacity, its structural "chaos," and its resistance to
allegorical closure. That intentionality, he argues, points toward
a fascinating possibility never before considered: that Durer's
masterpiece is not only an arresting diagnosis of melancholic
distress, but an innovative instrument for its undoing. Merback
deftly resituates Durer's image within the long history of the
therapeutic artifact. Placing Durer's therapeutic project in
dialogue with that of humanism's founder, Francesco Petrarch,
Merback also unearths Durer's ambition to act as a physician of the
soul. Celebrated as the "Apelles of the black line" in his own day,
and ever since as Germany's first Renaissance painter-theorist, the
Durer we encounter here is also the first modern Christian artist,
addressing himself to the distress of souls, including his own.
Melencolia thus emerges as a key reference point in a venture of
spiritual-ethical therapy, a work designed to exercise the mind,
restore the body's equilibrium, and help in getting on with the
undertaking of perfection.
Renaissance Theory presents an animated conversation among art
historians about the optimal ways of conceptualizing Renaissance
art, and the links between Renaissance art and contemporary art and
theory. This is the first discussion of its kind, involving not
only questions within Renaissance scholarship, but issues of
concern to art historians and critics in all fields. Organized as a
virtual roundtable discussion, the contributors discuss rifts and
disagreements about how to understand the Renaissance and debate
the principal texts and authors of the last thirty years who have
sought to reconceptualize the period. They then turn to the issue
of the relation between modern art and the Renaissance: Why do
modern art historians and critics so seldom refer to the
Renaissance? Is the Renaissance our indispensable heritage, or are
we cut off from it by the revolution of modernism? The volume
includes an introduction by Rebecca Zorach and two final, synoptic
essays, as well as contributions from some of the most prominent
thinkers on Renaissance art including Stephen Campbell, Michael
Cole, Frederika Jakobs, Frank Fehrenbach, Claire Farago, and Matt
Kavaler.
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 'The Vitruvian Man', c. 1492 by Leonardo da
Vinci (1452-1519), and printed on silver.
This volume combines a number of approaches to the history of the
conflict between religions and cultures. Contributions from
history, art and legal history, as well as Judaistic studies deal
with new conceptual considerations on the history of perceptions in
the Late Middle Ages and Early Modern period; above all
interpretations of non-European religions, of paganism in their own
European tradition, and how ecclesiastic law treated a
oenon-believersa in relation to the heretics. The second volume is
in preparation.
'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.
This volume brings together new research by some of the world's
leading experts, exploring the artistic production and cultural
context of Renaissance sculpture from Ghiberti's Gates of Paradise
to the small bronzes of Giambologna and his followers. The essays
cover a range of sculptural materials and forms to cast fresh light
on the artists, their creative and collaborative processes, and
those who commissioned, owned and responded to their work. The
papers were originally presented at a conference at the V&A in
2010 as part of the Robert H. Smith Renaissance Sculpture
Programme.
Not rediscovered until the twentieth century, the works of Georges
de La Tour retain an aura of mystery. At first sight, his paintings
suggest a veritable celebration of light and the visible world, but
this is deceptive. The familiarity of visual experience blinds the
beholder to a deeper understanding of the meanings associated with
vision and the visible in the early modern period. By exploring the
representations of light, vision, and the visible in La Tour’s
works, this interdisciplinary study examines the nature of painting
and its artistic, religious, and philosophical implications. In the
wake of iconoclastic outbreaks and consequent Catholic call for the
revitalization of religious imagery, La Tour paints familiar
objects of visible reality that also serve as emblems of an
invisible, spiritual reality. Like the books in his paintings,
asking to be read, La Tour’s paintings ask not just to be seen as
visual depictions but to be deciphered as instruments of insight.
In figuring faith as spiritual passion and illumination, La
Tour’s paintings test the bounds of the pictorial image,
attempting to depict what painting cannot ultimately show: words,
hearing, time, movement, changes of heart. La Tour’s emphasis on
spiritual insight opens up broader artistic, philosophical, and
conceptual reflections on the conditions of possibility of the
pictorial medium. By scrutinizing what is seen and how, and by
questioning the position of the beholder, his works revitalize
critical discussion of the nature of painting and its engagements
with the visible world.
Winner of the Phyllis Goodhart Gordan Book Prize from the
Renaissance Society of America Titian, one of the most successful
painters of the Italian Renaissance, was credited by his
contemporaries with painting a miracle-working image, the San Rocco
Christ Carrying the Cross. Taking this unusual circumstance as a
point of departure, Christopher J. Nygren revisits the scope and
impact of Titian's life's work. Nygren shows how, motivated by his
status as the creator of a miracle-working object, Titian played an
active and essential role in reorienting the long tradition of
Christian icons over the course of the sixteenth century. Drawing
attention to Titian's unique status as a painter whose work was
viewed as a conduit of divine grace, Nygren shows clearly how the
artist appropriated, deployed, and reconfigured Christian icon
painting. Specifically, he tracks how Titian continually readjusted
his art to fit the shifting contours of religious and political
reformations, and how these changes shaped Titian's conception of
what made a devotionally efficacious image. The strategies that
were successful in, say, 1516 were discarded by the 1540s, when his
approach to icon painting underwent a radical revision. Therefore,
this book not only tracks the career of one of the most important
artists in the tradition of Western painting but also brings to
light new information about how divergent agendas of religious,
political, and artistic reform interacted over the long arc of the
sixteenth century. Original and erudite, this book represents an
important reassessment of Titan's approach to devotional subject
matter. It will appeal to students and specialists as well as art
aficionados interested in Titian and in religious painting.
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