Part of the Norton Critical Studies in Art History, this text examines Michelangelo's work on the Sistine Chapel ceiling. The book includes: an illustration section depicting the entire work as well as in detail; documents and literary sources; and critical essays from history of art literature.

Jacob Burckhardt was a scholar who had the gift of being able to combine vast knowledge with a vivid imagination and lively creativity. This book, his contribution to cultural history, was first published in 1860, and has long been recognized as a great work of literature as well as history; its range, powerful style, and breadth of vision make it a classic introduction to the study of the Renaissance, and one that is still a source of inspiration. My starting point has to be a vision, ' Burckhardt wrote to a friend, otherwise I cannot do anything. Vision I call not only optical, but also spiritual realization; for instance, historical vision issuing from the old sources.

The third volume of E H Gombrich's seminal essays on the Renaissance has the classical tradition as its central theme. Apelles, the most famous painter of ancient Greece, was said to have combined perfect beauty with supreme skill in imitating the appearances of nature. These twin ideals of perfect beauty and perfect imitation of nature, which were inherited from classical antiquity and remained unchallenged as the cornerstone of art until the twentieth century, form the starting-point for these learned and always stimulating essays. Whether discussing the rendering of light and lustre, the working methods of Leonardo da Vinci or the principles of criticism, the author's analyses and interpretations are underpinned by a deep conviction that, despite the apparent abandonment of the Renaissance ideals in the twentieth century, questions about traditions, values and standards are still of fundamental importance. This wider concern gives these essays a continuing vitality, not only for students but also for anyone interested in art and culture.

In this second volume of his classic essays on the Renaissance, E H Gombrich focuses on a theme of central importance: visual symbolism. He opens with a searching introduction ('The Aims and Limits of Iconology'), and follows with detailed studies of Botticelli, Mantegna, Raphael, Poussin and others. The volume concludes with an extended study of the philosophies of symbolism, demonstrating that the ideas which preoccupied the philosophers of the Renaissance are still very much alive today. Like its predecessor, Norm and Form, this volume is indispensable for all students of Renaissance art and thought as a work that has itself helped to shape the evolving discipline of art history. Reflecting the author's abiding concern with standards, values and problems of method, it also has a wider interest as an introduction to the fundamental questions involved in the interpretation of images.

In Volume VI of his acclaimed" Hinges of History" series, Thomas Cahill guides us through a time so full of innovation that the Western world would not again experience its like until the twentieth century: the new humanism of the Renaissance and the radical religious alterations of the Reformation.
This was an age where whole continents and peoples were discovered. It was an era of sublime artistic and scientific adventure, but also of newly powerful princes and armies--and of unprecedented courage, as thousands refused to bow their heads to the religious pieties of the past. In these exquisitely written and lavishly illustrated pages, Cahill illuminates, as no one else can, the great gift-givers who shaped our history--those who left us a world more varied and complex, more awesome and delightful, more beautiful and strong than the one they had found.

Lorenzo de' Medici: The embodiment of Florence's most powerful family, a brutal man who ruled the city with an iron fist, whilst protecting it from the shifting mire of Italian politics. Fra Girolamo Savonarola: An unprepossessing provincial monk whose sermons, filled with Old Testament fury, resonated with the disenfranchised population of the city. The battle between these two men would be a fight to the death, a series of sensational events - including a mighty foreign invasion, trial by fire, the 'Bonfire of the Vanities', terrible executions and mysterious deaths - featuring a cast of the most important and charismatic Renaissance figures.

After the death of Raphael in 1520, the next generation in Italy was to see the rise of the complex and refined sensibility summed up in the term "Mannerism." In this uniquely comprehensive guide to sixteenth-century Renaissance art, Linda Murray examines the manifold achievements of Italian artists and identifies the individual forms taken by artists in Northern Europe and in Spain, including Durer, Bruegel and El Greco.

This volume tells the singular story of an uncanny object at the cusp of art and science: a 450-year-old automaton known as “the monk.� The walking, gesticulating figure of a friar, in the collection of the Smithsonian Institution’s National Museum of American History, is among the earliest extant ancestors of the self-propelled robot. According to lore from the court of Philip II of Spain, the monk represents a portrait of Diego de Alcalá, a humble Franciscan lay brother whose holy corpse was said to be agent to the miraculous cure of Spain’s crown prince as he lay dying in 1562. In tracking the origins of the monk and its legend, the authors visited archives, libraries, and museums across the United States and Europe, probing the paradox of a mechanical object performing an apparently spiritual act. They identified seven kindred automata from the same period, which, they argue, form a paradigmatic class of walking “prime movers,� unprecedented in their combination of visual and functional realism. While most of the literature on automata focuses on the Enlightenment, this enthralling narrative journeys back to the late Renaissance, when clockwork machinery was entirely new, foretelling the evolution of artificial life to come.

Superb reproduction of most popular 16th-century lace design book by Queen of France's favorite patterner. Contains all of the nearly 100 original patterns for point coupe, reticella and guipure; the second part describes square netting and embroidery on cloth. 83 full-page plates.

Quinten Massys’ An Old Woman (‘The Ugly Duchess’) is one of the Renaissance’s most famous faces. In a fresh review of the iconic image, this book unveils the painting’s original context: its status as a pioneering work of satirical art, its debt to Leonardo da Vinci’s grotesque drawings, and what it tells us about the period’s complex attitudes towards women, age and normative beauty.  The painting and its partner, An Old Man, are parodic portraits that mock the supposed lust and vanity of older women. Yet a closer look also reveals a figure defiantly flouting conventions and a painter subverting artistic expectations.  The publication traces the eventful afterlife and enduring power of this seminal image: how she gained her nickname ‘The Ugly Duchess’ and inspired John Tenniel’s much-loved illustrations of Lewis Carroll’s Alice’s Adventures in Wonderland (1865), capturing the imagination of generations of readers.  Published by National Gallery Global/Distributed by Yale University Press  Exhibition Schedule: National Gallery, London, 16 March–11 June 2023

The Renaissance began in Italy, but it grew out of European civilization, with roots in Antiquity, in Christian dogma, and in Byzantium. The artistic ferment which had taken hold of Florence by 1420 was also reflected in the regional schools of Siena, Umbria, Mantua and Rome; and the new ideas spread from Italy through France, the Netherlands, Austria, Spain and Portugal. The book includes artists as diverse as Piero della Francesca, Van Eyck, Durer, Mantegna and Bellini, as well as the High Renaissance masters Leonardo da Vinci, Michelangelo and Raphael. With superb illustrations of the artists' work and crucial historical information about the "rebirth" of arts and letters, the authors illuminate one of the most important periods of art history. 251 illus., 51 in color.

Celebrates one of the greatest and most beloved painters of the Early Renaissance with luxurious, large-format images Sandro Botticelli, one of the greatest painters of the Italian High Renaissance, enjoyed the patronage of the greatest Florentine families. He spent most of his career in the humanist circle of the Medici, for whom he painted such masterpieces as Primavera and Venus and Mars, works that combine a decorative use of line with Classical elements in harmonious and supple compositions. This sumptuously produced volume features an updated, full-colour selection of the artist's works made for the original 1937 edition by Ludwig Goldscheider, co-founder of Phaidon Press. The original essay by Lionello Venturi is accompanied by a new introduction from Renaissance specialist Alessandro Cecchi, putting Botticelli and his school into a contemporary context. Elegant design, fine papers and tipped-on image plates make this a true collector's edition.

In this influential interpretation of the Italian Renaissance, Burckhardt explores the political and psychological forces that marked the beginning of the modern world.

2013 will mark the 400th anniversary of the birth of the artist Mattia Preti (1613-1699), who spent forty years of his working life in Malta. Midsea Books, in collaboration with the Department of History of Art at the University of Malta, are working together to publish an outstanding book that discusses critically the artist s oeuvre in Malta. Research for this superb book is co-ordinated by Professor Keith Sciberras, who is also the author of the two critical essays which compose the first part of the book. Over 150 catalogue entries are co-authored by Professor Sciberras and Ms Jessica Borg M.A. The book will include over 270 paintings. The images of the paintings in Malta are being taken purposely for this book by master photographer Mr Joe P. Borg. Born in Taverna, Calabria, in 1613, Mattia Preti emerged as a leading exponent of the forceful Baroque of mid-17th century Italy, working in a tradition which brilliantly captured the characteristics of monumental dynamism and theatrical appeal. An extraordinary draughtsman and painterly virtuoso, he was quick with his brush and produced hundreds of pictures which spanned a career of some seventy years. His life-story can be easily and neatly divided in an early training and first maturity in Rome, his mid-years in Naples, and the nearly four decades that he spent on Malta between 1661 and his death in 1699. An artist-knight, his life was also conditioned by his membership in the chivalric Order of St John of Jerusalem, Rhodes, and Malta. Preti s works for St John s Conventual Church inspired a major transformation within the church. The Baroque re-decoration programme which Preti was to direct transformed the interior of the Conventual Church into one of the most important nodes of Baroque art South of Rome. Preti was to assume responsibility of painting the entire ceiling and many altar paintings and lunettes. Moreover, he produced designs for the carved decoration that spread throughout the church walls, the inlaid marble slabs for the flooring and ephemera. Preti s residency on the island did not go unnoticed and his circle of admirers grew beyond the circle of the Knights of Malta. The church and private patrons were attracted to his work. Owning a painting by the artist grew to become a desideratum. The artist s technique and method of painting was fast and he could rapidly execute large scale works. His inventive genius kept up with the pace of his technique and the artist thus produced a large corpus of paintings. This lavish publication, which will mark the 400th anniversary from the master s birth, will be another outstanding contribution to all enthusiast of Maltese art and history."

The comprehensive study of the Italian Renaissance altarpiece from the 13th to the early 17th century The altarpiece is one of the most distinctive and remarkable art forms of the Renaissance period. It is difficult to imagine an artist of the time-whether painter or sculptor, major or minor-who did not produce at least one. Though many have been displaced or dismembered, a substantial proportion of these works still survive. Despite the volume of material available, no serious attempt has ever been made to examine the whole subject in depth until now. The Italian Renaissance Altarpiece is the first comprehensive study of the genre to examine its content and subject matter in real detail, from the origins of the altarpiece in the 13th century to the time of Caravaggio in the early 1600s. It discusses major developments in the history of these objects throughout Italy, covers the three key categories of Renaissance altarpiece-"immagini" (icons), "historie" (narratives), and "misteri" (mysteries)-and is illustrated with 250 beautiful reproductions of the artworks.

The first full-length study of the impact of the discovery of the Americas on Italian Renaissance art and culture, Imagining the Americas in Medici Florence demonstrates that the Medici grand dukes of Florence were not only great patrons of artists but also early conservators of American culture. In collecting New World objects such as featherwork, codices, turquoise, and live plants and animals, the Medici grand dukes undertook a “vicarious conquest� of the Americas. As a result of their efforts, Renaissance Florence boasted one of the largest collections of objects from the New World as well as representations of the Americas in a variety of media. Through a close examination of archival sources, including inventories and Medici letters, Lia Markey uncovers the provenance, history, and meaning of goods from and images of the Americas in Medici collections, and she shows how these novelties were incorporated into the culture of the Florentine court. More than just a study of the discoveries themselves, this volume is a vivid exploration of the New World as it existed in the minds of the Medici and their contemporaries. Scholars of Italian and American art history will especially welcome and benefit from Markey’s insight.

This volume presents one of the most important private collections worldwide of Renaissance medals from the time of Albrecht Duerer. The medals provide a fascinating glimpse into the era of the Protestant reformation. The portraits on these medals show emperors, princes, merchants and reformers, and their execution is comparable in style and artistry to the paintings of Duerer, Cranach, and Holbein. Profusely illustrated and accompanied by descriptions and biographies of the depicted medals.

This is the first study of Renaissance architecture as an immersive, multisensory experience that combines historical analysis with the evidence of first-hand accounts. Questioning the universalizing claims of contemporary architectural phenomenologists, David Karmon emphasizes the infinite variety of meanings produced through human interactions with the built environment. His book draws upon the close study of literary and visual sources to prove that early modern audiences paid sustained attention to the multisensory experience of the buildings and cities in which they lived. Through reconstructing the Renaissance understanding of the senses, we can better gauge how constant interaction with the built environment shaped daily practices and contributed to new forms of understanding. Architecture and the Senses in the Italian Renaissance offers a stimulating new approach to the study of Renaissance architecture and urbanism as a kind of 'experiential trigger' that shaped ways of both thinking and being in the world.

The architecture of the Italian Renaissance, theorized by artists such as Filippo Brunelleschi and Leon Battista Alberti, influenced styles and trends of the following centuries throughout Europe and beyond. This volume offers a comprehensive compilation of Italian Renaissnace architecture--richly documented, illustrated, arranged by region, and including a glossary.

This fascinating exploration of Leonardo da Vinci's life and work identifies what it was that made him so unique, and explains the phenomenon of the world's most celebrated artistic genius who, 500 years on, still grips and inspires us.
Martin Kemp offers us exceptional insights into what it was that made this Renaissance man so special, and the "real" meaning behind such masterpieces as the Mona Lisa and the Last Supper. Tracing Leonardo's career in all its variety, we learn of his unfulfilled dreams, relationships with powerful patrons, and the truth about his views on God, humanity, and nature. The famous notebooks are the key to understanding the secret of Leonardo's success and genius, Kemp shows, as they clearly reveal the workings of his mind and display the truly innovative and investigative nature of his creative vision. In these notebooks, over 20,000 pages of drawings and notes detail his incredible discoveries and inventions--from the workings of the human eye to designs for flying machines and giant crossbows. Bringing the story up to the present day, Martin Kemp considers what he means to us today, investigates the "Leonardo industry," and speculates about what he would be doing if he were alive today.
This updated edition of Martin Kemp's best-seller is the first book on Leonardo to include two newly discovered works, the most important such discoveries in over a hundred years.

Following the arc of Bellini's career, from his early devotional paintings to his later, occasionally secular works, this book offers an in-depth appreciation of the Venetian master who dominated the Early Renaissance. Featuring nearly every extant Bellini work, as well as those of his contemporaries, this book brims with gorgeous Renaissance art. Author Johannes Grave focuses on some of the artist's greatest works including Allegoria Sacra, the Brera Pieta, and the altarpiece of San Giobbe-to explore how Bellini excelled in tempera before mastering oil painting. Grave discusses how Bellini's precise lines, his delicate facial expressions, and the subtle effects of light and shadow were used in his religious paintings as well as his portraiture and late mythological depictions. This book examines Bellini's life, including his complex relationships with his father Jacopo, his brother Gentile, and his brother-in-law Andrea Mantegna. It considers the original contexts of Bellini's works, and elucidates the ways in which these paintings were meant to be perceived. The book also links Bellini's devotional paintings with the poetic creations of his pupil Giorgione. An important contribution to the scholarship of Renaissance art, this masterful book reaffirms Bellini's status as one of Venice's greatest painters.