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Books > Arts & Architecture > History of art / art & design styles > 1400 to 1600 > Renaissance art > General
With an engaging text by renowned Michelangelo scholar William E.
Wallace, Michelangelo: The Complete Sculpture, Painting,
Architecture brings together in one exquisite volume the powerful
sculptures, the awe-inspiring paintings, and the classical
architectural works of one of the greatest artists of all time.
Including everything from his sculptures PietĂ s and David to
his beautiful paintings of the Sistine Chapel and the Doni Tondo,
the book provides an opportunity to view Michelangelo’s work as
never before, and to more fully understand the artist who, through
his work, spoke of his life and times. The frescoes are specially
printed on onion skin paper to recreate the actual appearance of
light reflecting off of the plaster walls. The stunning
black-and-white photography of the sculptures is printed in four
colors to bring out the rich details of the marble.
In recent years, art historians have begun to delve into the
patronage, production and reception of sculptures-sculptors'
workshop practices; practical, aesthetic, and esoteric
considerations of material and materiality; and the meanings
associated with materials and the makers of sculptures. This volume
brings together some of the top scholars in the field, to
investigate how sculptors in early modern Italy confronted such
challenges as procurement of materials, their costs, shipping and
transportation issues, and technical problems of materials, along
with the meanings of the usage, hierarchies of materials, and
processes of material acquisition and production. Contributors also
explore the implications of these facets in terms of the intended
and perceived meaning(s) for the viewer, patron, and/or artist. A
highlight of the collection is the epilogue, an interview with a
contemporary artist of large-scale stone sculpture, which reveals
the similar challenges sculptors still encounter today as they
procure, manufacture and transport their works.
The Venetian painter known as Giorgione or "big George" died at a
young age in the dreadful plague of 1510, possibly having painted
fewer than twenty-five works. But many of these are among the most
mysterious and alluring in the history of art. Paintings such as
The Three Philosophers and The Tempest remain compellingly elusive,
seeming to deny the viewer the possibility of interpreting their
meaning. Tom Nichols argues that this visual elusiveness was
essential to Giorgione's sensual approach and that ambiguity is the
defining quality of his art. Through detailed discussions of all
Giorgione's works, Nichols shows that by abandoning the more
intellectual tendencies of much Renaissance art, Giorgione made the
world and its meanings appear always more inscrutable.
This book includes a rich and fascinating consideration of the
golden age of French printmaking. Once considered the golden age of
French printmaking, Louis XIV's reign saw Paris become a powerhouse
of print production. During this time, the king aimed to make fine
and decorative arts into signs of French taste and skill and, by
extension, into markers of his imperialist glory. Prints were ideal
for achieving these goals; reproducible and transportable, they
fueled the sophisticated propaganda machine circulating images of
Louis as both a man of war and a man of culture. This richly
illustrated catalogue features more than one hundred prints from
the Getty Research Institute and the Bibliotheque nationale de
France in Paris, whose print collection Louis XIV established in
1667. An esteemed international group of contributors investigates
the ways that cultural policies affected printmaking; explains what
constitutes a print; describes how one became a printmaker; studies
how prints were collected; and considers their reception in the
ensuing centuries.A Kingdom of Images is published to coincide with
an exhibition on view at the Getty Research Institute from June 18
through September 6, 2015, and at the Bibliotheque nationale de
France in Paris from November 2, 2015, through January 31, 2016.
'The most important art historian of his generation' is how some
scholars have described the late Michael Baxandall (1933-2007),
Professor of the Classical Tradition at the Warburg Institute,
University of London, and of the History of Art at the University
of California, Berkeley. Baxandall's work had a transformative
effect on the study of European Renaissance and eighteenth-century
art, and contributed to a complex transition in the aims and
methods of art history in general during the 1970s, '80s and '90s.
While influential, he was also an especially subtle and independent
thinker - occasionally a controversial one - and many of the
implications of his work have yet to be fully understood and
assimilated. This collection of 10 essays endeavors to assess the
nature of Baxandall's achievement, and in particular to address the
issue of the challenges it offers to the practice of art history
today. This volume provides the most comprehensive assessment of
Baxandall's work to date, while drawing upon the archive of
Baxandall papers recently deposited at the Cambridge University
Library and the Warburg Institute.
This is a fascinating re-evaluation of the life and works of a
hugely talented yet controversial artist. The young Michelangelo
Merisi da Caravaggio (1571-1610) created a major stir in
late-sixteenth-century Rome with the groundbreaking naturalism and
highly charged emotionalism of his paintings. "Caravaggio" is a
sumptuously illustrated and engagingly written volume that takes a
fresh look at Caravaggio's life and works, uncovering evidence that
the efforts of Caravaggio's contemporaries to disparage his
character and his artwork often sprang from their own cultural
biases or a desire to promote the artistic achievements of his
rivals, and that contrary to repeated claims, Caravaggio lacked
neither education nor piety, but was an extremely accomplished
technician who developed a successful marketing strategy.
A significant new interpretation of the emergence of Western
pictorial realism When Jan van Eyck (c. 1390-1441) completed the
revolutionary Ghent Altarpiece in 1432, it was unprecedented in
European visual culture. His novel visual strategies, including
lifelike detail, not only helped make painting the defining medium
of Western art, they also ushered in new ways of seeing the world.
This highly original book explores Van Eyck's pivotal work, as well
as panels by Rogier van der Weyden and their followers, to
understand how viewers came to appreciate a world depicted in two
dimensions. Through careful examination of primary documents, Noa
Turel reveals that paintings were consistently described as au vif:
made not "from life" but "into life." Animation, not
representation, drove Van Eyck and his contemporaries. Turel's
interpretation reverses the commonly held belief that these artists
were inspired by the era's burgeoning empiricism, proposing instead
that their "living pictures" helped create the conditions for
empiricism. Illustrated with exquisite fifteenth-century paintings,
this volume asserts these works' key role in shaping, rather than
simply mirroring, the early modern world.
One of the premier artists of Renaissance Venice, Paolo Veronese
(1528-1588) enjoyed a successful career creating splendid and
sophisticated paintings for an elite clientele. Focusing on
Veronese's materials, workshop organization, and remarkably varied
techniques, this important book provides a rich examination of the
artist's painting practice and how it developed throughout his
career-from his initial training in Verona through the height of
his fame in Venice. Diana Gisolfi's multidisciplinary approach
brings together information on the physical qualities of Veronese's
works discovered during recent conservation projects, a fresh look
at contemporary texts from the 16th century, and a nuanced
understanding of the world of Venetian artists and their patrons.
This innovative approach elucidates the working life of Veronese
and his circle of contemporaries in new and fascinating ways.
The Virgin Mary rises up like a giant Tower of Babel in a close-up
view, separated from us by a slender railing along which runs the
painter's signature. The Virgin appears to be sitting on a marble
slab, slightly raised, and her right shoulder is thrust forward to
show us her nude son. Madonna and Child, also known as 'Dudley
Madonna', was painted in c. 1508 by Giovanni Bellini (Venice, c.
1430-1516), one of the most celebrated of Italian artists. This
book tells the story of the painting, its painter and its
provenance - the journey from Bellini's 16th-century Venice to
Dudley's 19th-century London - and the context in which it was
created, and later collected. The painting was probably acquired in
Bologna by John William Ward (1781-1833), who in 1827 became the
1st Earl of Dudley. He was described by his contemporaries as a
cultured and educated man, but also, especially in his later years,
tending to madness. The Dudley collection was one of the most
outstanding in 19th-century England. The years 1505-10 were crucial
ones in Giovanni Bellini's career, and this book examines anew the
part he played in Venetian High Renaissance painting - his
influence upon and response to the upcoming Giorgione, Titian and
Sebastiano del Piombo; it looks in particular at the importance of
the visit to the Venice of the Florentine Fra Bartolommeo in 1508.
Antonio Mazzotta was Pidem Curatorial Assistant at the National
Gallery, London, between 2008 and 2010, and he curated the
exhibition, Titian's First Masterpiece: The Flight into Egypt, at
the National Gallery, London, 4 April - 19 August 2012. The Virgin
Mary rises up like a giant Tower of Babel in a close-up view,
separated from us by a slender railing along which runs the
painter's signature. The Virgin appears to be sitting on a marble
slab, slightly raised, and her right shoulder is thrust forward to
show us her nude son. The Madonna and Child, also known as 'Dudley
Madonna', was painted in c. 1508 by Giovanni Bellini (Venice, c.
1430-1516), one of the most celebrated of Italian artists.
Recognised as an important composition by Bellini in the early 20th
century, for a hundred years until its sale at auction in 2010 this
picture had hardly ever been seen. This book places the painting
within Bellini's career and development even though he was over 75
years old when he painted it. Bellini was extraordinarily sensitive
to the new generation of High Renaissance artists, responding
instantly to new ideas. The publication also discusses the earlier
critical fortune of the painting, explaining how it was kept out of
the limelight for so long when it is clearly an autograph Bellini.
The years 1505-10 were crucial ones in Giovanni Bellini's career,
and this publication examines anew the part he played in Venetian
High Renaissance painting, his influence upon and response to the
upcoming Giorgione, Titian and Sebastiano del Piombo. It looks in
particular at the importance of the visit to the Venice of the
Florentine Fra Bartolommeo in 1508, a key figure in early
16th-century Florence, who came with a wealth of important new
ideas to share and disseminate. His influence on Bellini is most
obviously evident in the Madonna's - for him - comparatively
oblique pose. It is not known how and when the painting came from
Italy to England but it is very likely that is was acquired in
Bologna by John William Ward (1781-1833) who, in 1827, became the
1st Earl of Dudley. Described by his contemporaries as a cultured
and educated man, he (and later his nephew William Ward) assembled
one of the most outstanding collections in 19th-century England
but, although talented, tended to madness especially in his later
years. The collection was broken up at the end of the 19th century
and the painting, having been attributed to the obscure Rocco
Marconi by Berenson, was kept in a private collection in a country
house in Wiltshire.
This book challenges the notion that Michelangelo, renowned for his
magnificent portrayals of the human body, was merely concerned with
“superficial” anatomy—that is, the parts of the body that can
be seen from the outside. Christian K. Kleinbub provides a fresh
perspective on Michelangelo’s art of the human figure by
investigating what he calls the artist’s “inner anatomical
poetics,” revealing these beautiful bodies as objects of profound
intellectual and spiritual significance. Michelangelo’s Inner
Anatomies illuminates how Renaissance discourses on anatomical
organs and organ systems informed Michelangelo's figures, linking
the interior experiences of his subjects to physiological processes
associated with sex, love, devotion, and contemplation, among other
thoughts and feelings. Kleinbub presents new and compelling
interpretations of some of Michelangelo’s most significant works
of painting, sculpture, poetry, and architecture. The book’s case
studies cover the full range of Michelangelo’s prodigious
output—including such iconic works as the Sistine Ceiling, Dying
Slave, and Last Judgment—and reconstructs what Michelangelo knew
of internal anatomy and how he projected that knowledge into his
most important works. Drawing upon theological, poetic,
philosophical, and scientific texts, Michelangelo created a
context-dependent, adaptable practice that could be adjusted
according to the needs of an individual situation or commission and
manipulated to embody, literally and figuratively, a variety of
meanings. Deeply researched and convincingly argued, this study
heralds a significant shift in thinking about the Italian
Renaissance body as it pertains not only to the work of
Michelangelo but also to the era as a whole.
This generously illustrated book presents highlights from the
National Gallery's display of Italian Renaissance painting, one of
the richest collections of its kind in the world. Duccio to
Leonardo focuses on Italian masterpieces made between 1250 and
1500, including highlights such as Duccio's Annunciation,
Botticelli's Venus and Mars, and Leonardo's Virgin and Child with
Saint Anne and Saint John the Baptist. It begins with a short
introduction on the formation of the collection, before discussing
each of the chosen works. Published by National Gallery
Company/Distributed by Yale University Press
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.
The essays in Space, Image and Reform in Early Modern Art build on
Marcia Hall's seminal contributions in several categories crucial
for Renaissance studies, especially the spatiality of the church
interior, the altarpiece's facture and affectivity, the notion of
artistic style, and the controversy over images in the era of
Counter Reform. Accruing the advantage of critical engagement with
a single paradigm, this volume better assesses its applicability
and range. The book works cumulatively to provide blocks of
theoretical and empirical research on issues spanning the function
and role of images in their contexts over two centuries. Relating
Hall's investigations of Renaissance art to new fields, Space,
Image and Reform expands the ideas at the center of her work
further back in time, further afield, and deeper into familiar
topics, thus achieving a cohesion not usually seen in edited
volumes honoring a single scholar.
Michelangelo is best known for great artistic achievements such
as the Sistine ceiling, the "David," the "Pieta," and the dome of
St. Peter's. Yet throughout his seventy-five year career, he was
engaged in another artistic act that until now has been largely
overlooked: he not only filled hundreds of sheets of paper with
exquisite drawings, sketches, and doodles, but also, on fully a
third of these sheets, composed his own words. Here we can read the
artist's marginal notes to his most enduring masterpieces; workaday
memos to assistants and pupils; poetry and letters; and achingly
personal expressions of ambition and despair surely meant for
nobody's eyes but his own. "Michelangelo: A Life on Paper" is the
first book to examine this intriguing interplay of words and
images, providing insight into his life and work as never
before.
This sumptuous volume brings together more than two hundred
stunning, museum-quality reproductions of Michelangelo's most
private papers, many in color. Accompanying them is Leonard
Barkan's vivid narrative, which explains the important role the
written word played in the artist's monumental public output. What
emerges is a wealth of startling juxtapositions: perfectly
inscribed sonnets and tantalizing fragments, such as "Have
patience, love me, sufficient consolation"; careful notations
listing money spent for chickens, oxen, and funeral rites for the
artist's father; a beautiful drawing of a Madonna and child next to
a mock love poem that begins, "You have a face sweeter than boiled
grape juice, and a snail seems to have passed over it."
Magnificently illustrated and superbly detailed, this book provides
a rare and intimate look at how Michelangelo's artistic genius
expressed itself in words as well as pictures."
"WINNER of The Art Newspaper / AXA Exhibition Catalogue Award 2007
Francesco Xanto Avelli da Rovigo was an intriguing artist who
painted some of the most beautiful and fascinating ceramics
produced in Renaissance Italy. With surfaces entirely painted with
scenes from classical literature, Roman history or the Bible, his
dishes were much sought after by the educated elite of his time,
and continue to fascinate ceramics enthusiasts today. The colors of
his works appear as fresh now as when the pieces were first made,
providing a sense of immediacy that brings the culture of Xanto's
Italy to life before our eyes. Accompanying an exhibition at the
Wallace Collection - the first ever dedicated to the artist - this
book puts the work of Xanto and his contemporaries in its
historical, political and artistic context. Xanto's`cut and paste'
method of incorporating figures derived from prints is explored,
his artistic development is traced and the spread of his influence
assessed. Included is a full transcription of Xanto's sonnet
sequence, published, for the first time with an English
translation. An appendix comprising a list of Xanto's works is
another `first'. Accompanied an exhibition at the Wallace
Collection, London, opening 25 January. John Mallet is curator of
the exhibition, formerly Keeper in the Department of Ceramics and
Glass in the Victoria and Albert Museum and the world authority on
Xanto."
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