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Books > Arts & Architecture > History of art / art & design styles > 1400 to 1600 > Renaissance art > General
Scholars have traditionally viewed the Italian Renaissance artist
as a gifted, but poorly educated craftsman whose complex and
demanding works were created with the assistance of a more educated
advisor. These assumptions are, in part, based on research that has
focused primarily on the artist's social rank and workshop
training. In this volume, Angela Dressen explores the range of
educational opportunities that were available to the Italian
Renaissance artist. Considering artistic formation within the
history of education, Dressen focuses on the training of highly
skilled, average artists, revealing a general level of learning
that was much more substantial than has been assumed. She
emphasizes the role of mediators who had a particular interest in
augmenting artists' knowledge, and highlights how artists used
Latin and vernacular texts to gain additional knowledge that they
avidly sought. Dressen's volume brings new insights into a topic at
the intersection of early modern intellectual, educational, and art
history.
The Kunstkammer in Dresden's Royal Palace houses a fascinating
variety of collected objects from the late Renaissance and early
Baroque periods. It owes its unique collection of plain and ornate
tools, for example, to the founder of the Kunstkammer, Elector
August (1526-1586). They range from gardening equipment to
goldsmithing, carpentry and ironworking tools and even to so-called
Brechzeugen (tools for prising or breaking things open). In
addition, the museum guide presents elaborately decorated art-room
cabinets, two richly embellished Augsburg cabinets, tables inlaid
with iridescent mother-of-pearl, precious board games, and musical
instruments alongside filigree woodturned pieces, items of
decorative art, and objects from distant cultures. Numerous
previously unpublished masterpieces from the Kunstkammer in
Dresden's Royal Palace
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