Le Moulin et la Croix, de Michael Francis Gibson plonge le lecteur dans un surprenant tableau de Pierre Breugel l'Aine - Le Portement de Crois - une uvre ambigue qui illustre a la fois la passion du Christ et l'execution d'un predicateur de la Reforme a l'epoque de Bruegel lui-meme. Ce livre qui, selon le New York Times, est aussi lisible et fascinant qu'un roman d'espionnage de premier ordre, inspira le film de Lech Majewski, Bruegel - le Moulin et la Croix, lance au Louvre en avril 2011 avec Charlotte Rampling, Michael York et Rutger Hauer (www.themillandthecross.com). Cette nouvelle edition du livre s'appuie sur de nouvelles photos detaillees qui permettent au lecteur de decouvrir des details etonnants et jamais encore vus. Ces details, dit Philippe de Montebello, Directeur Emerite du Metropolitan Museum of Art de New York, a notre emerveillement, rehaussent encore d'un cran l'admiration que nous vouons a Pierre Bruegel l'Aine. Pour plus de renseignements sur le livre voir www.the-university-of-levana-press.com.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Il Riposo ... Raffaello Borghini Societa tipografica de'Classici italiani, 1807 Painters; Painting; Sculptors, Italian; Sculpture

Skira Mini ARTbooks is a pocket-sized series, conveniently priced, very practical and with lots of images dedicated to single international artists, artistic movements and painting genres. Andrea Mantegna, the painter who was able to rise above earth and create heavenly forms which are still real (W. Goethe). He was a protagonist of the renewal of the figurative language in northern Italy. This is an introduction to the life of the artist, with his masterpieces.

Shakespeare's Spiral aims to explore a figure forgotten in the dramatic texts of Shakespeare and in Renaissance painting: the snail. Taking as its point of departure the emergence of the gastropod object/subject in the text of King Lear as well as its iconic interface in Giovanni Bellini's painting Allegory of Falsehood (circa 1490), this study sets out to follow the particular path traced by the snail throughout the oeuvre. From the central scene in which the metaphor of the snail and of its shell is specifically made manifest when Lear discovers, in a raging storm, the spectacle of Edgar disguised as Poor Tom coming out of his shelter (III.3.6-9) to the monster, this fiend, displaying on the cliffs of Dover, "horms whelked and waved like the enridged sea" (IV.6.71), this work is the trace of a narrative - of a journey of the gaze - during the course of which the cryptic question of the gastropod - "Why a Snail [...]?" (I.5.26) - does not cease to be developed and transformed. Incorporating a wide-ranging post-structuralist critique, the study aims to bring to light the particular functions of this "revealing detail" in both its textual and visual dimension so as to put forward a new and innovatory understanding of the tragedy of King Lear.

In The Mirror, the Window, and the Telescope, Samuel Y. Edgerton brings fresh insight to a subject of perennial interest to the history of art and science in the West: the birth of linear perspective. Edgerton retells the fascinating story of how perspective emerged in early fifteenth-century Florence, growing out of an artistic and religious context in which devout Christians longed for divine presence in their daily lives. And yet, ironically, its discovery would have a profound effect not only on the history of art but on the history of science and technology, ultimately undermining the very medieval Christian cosmic view that gave rise to it in the first place.

Among Edgerton's cast of characters is Filippo Brunelleschi, who first demonstrated how a familiar object could be painted in a picture exactly as it appeared in a mirror reflection. Brunelleschi communicated the principles of this new perspective to his artist friends Donatello, Masaccio, Masolino, and Fra Angelico. But it was the humanist scholar Leon Battista Alberti who codified Brunelleschi's perspective rules into a simple formula that even mathematically disadvantaged artists could understand.

By looking through a window the geometric beauties of this world were revealed without the theological implications of a mirror reflection. Alberti's treatise, "On Painting," spread the new concept throughout Italy and transalpine Europe, even influencing later scientists including Galileo Galilei. In fact, it was Galileo's telescope, called at the time a "perspective tube," that revealed the earth to be not a mirror reflection of the heavens, as Brunelleschi had advocated, but just the other way around. Building on the knowledge he has accumulated over his distinguished career, Edgerton has written the definitive, up-to-date work on linear perspective, showing how this simple artistic tool did indeed change our present vision of the universe.

Raffaello Borghini's Il Riposo (1584) is the most widely known Florentine document on the subject of the Counter-Reformation content of religious paintings. Despite its reputation as an art-historical text, this is the first English-language translation of Il Riposo to be published. A distillation of the art gossip that was a feature of the Medici Grand Ducal court, Borghini's treatise puts forth simple criteria for judging the quality of a work of art. Published sixteen years after the second edition of Giorgio Vasari's Vite, the text that set the standard for art-historical writing during the period, Il Riposo focuses on important issues that Vasari avoided, ignored, or was oblivious to. Picking up where Vasari left off, Borghini deals with artists who came after Michaelangelo and provides more comprehensive descriptions of artists who Vasari only touched upon such as Tintoretto, Veronese, Barocci, and the artists of Francesco I's Studiolo. This text is also invaluable as a description of the mid-sixteenth century reaction against the style of the 'maniera,' which stressed the representation of self-consciously convoluted figures in complicated works of art.The first art treatise specifically directed toward non-practitioners, Il Riposo gives unique insight into the early stages of art history as a discipline, late Renaissance art and theory, and the Counter-Reformation in Italy.

Andrea Palladio (1508-1580) is known as the architect who has guided Western design philosophy for half a millennium, creating forms that have been studied and reproduced from age to age and around the world. For architects and the public alike, his buildings have become enduring testaments to his architectural genius as creator of a timeless classicism. When Abbeville Press first published Andrea Palladio: The Architect in His Time in 1994, it was selected by Choice Magazine as "Outstanding Academic Book 1994", while The World of Interiors called it "undoubtedly one of the most important architectural books to be published for some time". Now Abbeville is pleased to release the revised concise edition of this essential resource. Featuring a newly updated bibliography, this handsome volume spans the entire career of Palladio, illuminating his work in the context of his historical era and his own extraordinary life. It invites us to view Palladio's masterpieces through the lens of Paolo Marton, moving across the thresholds of myriad villas, churches, and public edifices to illustrate the elegant proportions, crisp lines, and integrated geometries that are the hallmarks of Palladio's vision. From the immortal Villa Rotonda to the Venetian churches of the Redentore and San Giorgio Maggiore, from the city halls to the bridges, each masterpiece is described using plans, maps, and contemporary drawings and etchings along with brilliant photography. Combining modern scholarship with intriguing narrative, Palladio will educate and enlighten, helping readers understand the passion, joy, and beauty of one of the world's most fascinating ages of architecture.

Material culture is not static: objects are created, used and re-used, sometimes for centuries, and their lives interact with those of the people who made and used them. The essays in this book discuss the 'social lives' of objects in late-medieval and renaissance Italy, ranging from maiolica, through sculpture and prostitutes' jewellery, to miraculous painted images.
Demonstrates the continued life of these objects well past the deaths of their creators and patrons.
Contains a series of original contributions by young scholars, representing a broad range of approaches.

Michelangelo's art is exhilarating, but also bewildering. What is the source of his incomparable power? In this bold and absorbing study, the art critic James Hall explores the body-language of Michelangelo's figures, and his preoccupation with the male nude. He answers many of the major puzzles - his stern Madonnas and their lack of maternal feeling; his concern with colossal scale and size; his passion for anatomical dissection; the meaning of the drawings made for his young lover Tommaso da Cavalieri. By asking basic questions about Michelangelo and his times, Hall sheds dramatic new light on many of his most familiar works, including the statue of David, the narratives of the Sistine Chapel ceiling, and his haunting late images of the dead Christ. This book re-assesses the popular idea of Michelangelo as an artist-superman possessed of titanic mental and physical powers, and the long-held view of him as brilliant but unbalanced, obsessed with the male nude. Hall sees him as the first artist to put the unadorned human body centre stage, giving him a profound relevance to our own time, in which visual artists and writers are so fixated on 'the body'. If we really want to understand our own culture, he argues, we need to understand Michelangelo. This compelling new study offers us a way to do so.

The private archive of the Spinelli, acquired by Yale University's Beinecke Library in 1988, constitutes the largest fund of information about a Florentine family anywhere outside Italy. The Spinelli of Florence tells the story of these merchants and their ascent to social and economic prominence during the fourteenth and fifteenth centuries. This book gives an intimate portrait of daily life--the worlds of papal finance, silk and wool manufacturing, and household affairs--as recorded in letters and financial ledgers preserved for two hundred years since the extinction of the male line.

The fame of this family rests largely on the extraordinary success of one individual, Tommaso Spinelli, who broke into banking through the Alberti and Borromei organizations, later to serve as depository general under Pope Eugenius IV and financial officer to three subsequent popes. Tommaso sought to raise his status in society through ties of marriage and business rather than entering the political arena, which had led to the demise and exile of older, established Florentine families, notably the Peruzzi and Alberti. Like his contemporaries, Cosimo de'Medici, Giovanni Rucellai, and Francesco Sassetti, Tommaso poured his considerable wealth into the patronage of private palaces and villas in Rome and Florence, as well as through donations to the great Franciscan church of Santa Croce. Despite his reputation for magnificence, it was Tommaso's obeisance to the codes of religious decorum and his adherence to older artistic traditions that allowed him to commemorate himself and his family without censure.

The authors of this collaborative study, an architectural historian and economic historian, add significantly to our knowledge of private and papal banking, wool and silk manufacturing, and patronage of the arts. The Spinelli of Florence is important for scholars of history, economic history, social history, and art history.

Die Untersuchung beschaftigt sich mit Entstehung, Entwicklung und Aufgaben plastisch-figurlicher Stuckdekoration in Rom. Die fruhesten Beispiele fur die im 17. Jahrhundert weit verbreiteten monumentalen Stuckfiguren finden sich bereits in der ersten Halfte des 16. Jahrhunderts. Als Geburtsstatte darf die Sala Regia im Vatikan angesehen werden. Hier entstand eine Fulle von Figuren unter direktem Einfluss von Michelangelos plastischem Schaffen. Anhand exemplarisch ausgewahlter Dekorationen werden die Entwicklungsschritte bis hin zu fruhbarocken Ausstattungen aufgezeigt, die eine wichtige Grundlage fur die Kunstauffassung Gianlorenzo Berninis bilden. So kann ein Bogen geschlagen werden von Michelangelo zu Bernini, der Aufschlusse uber die Genese der barocken Skulptur zulasst."

After classical antiquity, the Italian Renaissance raised the portrait, whether literary or pictorial, to the status of an important art form. Among sixteenth-century Renaissance painters, Titian made his reputation, and much of his living, by portraiture. Titian's portraits were promoted by his friend, Pietro Aretino, an eminent poet and critic, who addressed his letters and sonnets to the same personages whom Titian portrayed. In many of these letters (which often included sonnets), Aretino described both an individual patron and Titian's portrait of that patron, thus stimulating the reciprocal relation between a verbal and pictorial portrait. By investigating this unprecedented historical phenomenon, Luba Freedman elucidates the meaning conveyed by the portrait as an artistic form in Renaissance Italy.

Fusing iconographical analysis of the most famous Titian portraits with rhetorical analysis of Aretino's literary legacy as compared to contemporary reactions, Freedman demonstrates that it is due to Titian's many portraits and to Aretino's repeated simultaneous writings about them that the portrait ceased being primarily a social-historical document, preserving the sitter's likeness for posterity. It gradually became, as it is today, a work of art, the artist's invention, which gives its viewer an aesthetic pleasure.

An analysis of how visual variety and grandeur are intrinsic and artistically well-conceived elements of the work of Rabelais, and that they develop naturally from the Renaissance outlook on the world.

Giambologna (1529 - 1606) is regarded as the most important European sculptor between Michelangelo and Bernini. How did he achieve this status? This volume investigates this question and examines above all Giambologna's study of Michelangelo, his all-powerful role model, and how he successfully prevailed. The young Flemish artist Giambologna most probably embarked on his study trip to Rome in 1550. On his way home he visited Florence, decided to stay and became the star at the Medici court. They sent his sculptures to the princely courts of Europe, where they became sought-after gifts. Although we know a great deal about his success, we know little of his early years in Italy, because he first appeared on the scene as a sculptor from about 1560. The alabaster figures after Michelangelo's "Times of Day" in Dresden, hitherto largely ignored, seem to be early works by the master sculptor. An examination of these sculptures promises to shed fresh light on the development of a genius.

Venetian artistic giants of the sixteenth century, such as Giorgione, Vittore Carpaccio, Titian, Jacopo Sansovino, Jacopo Tintoretto, Paolo Veronese, and their contemporaries, continued to shape artistic development, tastes in collecting, and modes of display long after their own practices ended. The robust reverberation of the Venetian Renaissance spread far beyond the borders of the lagoon to inform and influence artists, authors, and collectors who spent very little or even no time in Venice proper. The Enduring Legacy of Venetian Renaissance Art investigates the historical resonance of Venetian sixteenth-century art and explores its afterlife and its reinvention by artists working in its shadow. Despite being a frequently acknowledged truism, the pervasive legacy of Venetian sixteenth-century art has not received comprehensive treatment in recent publication history. The broad scope of the topics covered in these essays, from Titian's profound influence on the development of landscape painting to the effects of Carpaccio's historical paintings on early twentieth-century fashion, illustrates the persistence and adaptability of the Venetian Renaissance's legacy. In addition to analyzing the effects of individual artists on each other, this volume offers insight into the shifting characterizations and reception of Venice as a center for artistic innovation and inspiration throughout the early modern period, providing a nuanced and multifaceted view of the singular lagoon city and its indelible imprint on the history of art.

Hans Baldung Grien, the most famous apprentice and close friend of German artist Albrecht Dürer, was known for his unique and highly eroticised images of witches. In paintings and woodcut prints, he gave powerful visual expression to late medieval tropes and stereotypes, such as the poison maiden, venomous virgin, the Fall of Man, ‘death and the maiden’ and other motifs and eschatological themes, which mingled abject and erotic qualities in the female body. Yvonne Owens reads these images against the humanist intellectual milieu of Renaissance Germany, showing how classical and medieval medicine and natural philosophy interpreted female anatomy as toxic, defective and dangerously beguiling. She reveals how Hans Baldung exploited this radical polarity to create moralising and titillating portrayals of how monstrous female sexuality victimised men and brought them low. Furthermore, these images issued from—and contributed to—the contemporary understanding of witchcraft as a heresy that stemmed from natural ‘feminine defect,’ a concept derived from Aristotle. Offering new and provocative interpretations of Hans Baldung’s iconic witchcraft imagery, this book is essential reading for historians of art, culture and gender relations in the late medieval and early modern periods.

This exhibition, being held at the musee du Louvre in Paris, and its catalogue follow those dedicated to Florentine sculpture in the early Renaissance, 1400-1460, that took place in 2013-14 (Le Printemps de la Renaissance). The period scrutinised is 1460-1520 but the geographical coordinates are widened to include Northern Italy (Venice, Milan, Pavia, Padua, Bologna) and Rome as the artistic landscape of Italy becomes more complex. Some of the great sculptors, in fact, travelled and their style and their ideas influenced pre-existing local tradition. These new artistic languages share a common characteristic: the relationship to Greco-Roman Antiquity, especially in the representation of grace and passion: the expression of pathos and the theatrical quality of religious works, the symbolic richness of profane works and finally the development of a new and refined style which will find its highest expression in Roman classicism and in the work of Michelangelo. The catalogue includes the works of, among others, Donatello, Antonio Pollaiolo, Bertoldo di Giovanni, Giovanfrancesco Rustici, Francesco di Giorgio Martini, Guido Mazzoni, Bartolomeo Bellano, Cristoforo Solari, Tullio Lombardo, Andrea Riccio, and Bambaia, Sansovino, and Michelangelo. Text in Italian.

Everett Fahy's writings are of fundamental importance to the study of Tuscan Renaissance painting from the late 14th to the 16th century. An endeavour that lasted 50 years, starting with his 1965 essay on Piero di Cosimo and ending with his contributions for the 2015 Florentine exhibition on the same artist. In between Fahy wrote on some of the most acclaimed and loved artists (from Beato Angelico to Botticelli, from Ghirlandaio to the young Michelangelo), but also on lesser known masters such as Lorenzo di Nicolo, Spinello Aretino, the Master of the Campana panels, the Master of the Fiesole Adoration of the Magi, etc., and through his pioneering studies rediscovered minor artistic schools, such as the Lucca school. Fahy reconstruction of Fra Bartolomeo's early career is considered a classic of art historiography. The selected texts (vol. 1) are arranged in the order of appearance, while the plates (vol. 2), following chronological order, make up an atlas of two centuries of Tuscan painting. With texts in English (36), French (1), and Italian (10).

A provocative account of the philosophical problem of 'difference' in art history, Tintoretto's Difference offers a new reading of this pioneering 16th century painter, drawing upon the work of the 20th century philosopher Gilles Deleuze. Bringing together philosophical, art historical, art theoretical and art historiographical analysis, it is the first book-length study in English of Tintoretto for nearly two decades and the first in-depth exploration of the implications of Gilles Deleuze's philosophy for the understanding of early modern art and for the discipline of art history. With a focus on Deleuze's important concept of the diagram, Tintoretto's Difference positions the artist's work within a critical study of both art history's methods, concepts and modes of thought, and some of the fundamental dimensions of its scholarly practice: context, tradition, influence, and fact. Indicating potentials of the diagrammatic for art historical thinking across the registers of semiotics, aesthetics, and time, Tintoretto's Difference offers at once an innovative study of this seminal artist, an elaboration of Deleuze's philosophy of the diagram, and a new avenue for a philosophical art history.

Hans Baldung Grien war einer der aussergewoehnlichsten deutschen Kunstler der Renaissance. In einer Epoche tiefgreifender Umwalzungen schuf er ein vielfaltiges und eigenstandiges Werk, das bis heute fasziniert. Der Katalog begleitete die Grosse Landesausstellung in der Staatlichen Kunsthalle Karlsruhe und umfasst rund 250 Exponate aus zahlreichen internationalen Sammlungen, darunter intime Andachtsbilder, leuchtende Glasgemalde, charaktervolle Portrats, humanistische Denkbilder und sinnliche Akte, zu denen auch die beruhmten Sundenfalldarstellungen und die drastischen Hexenszenen zahlen. Mit Einfuhrungen und Exponat-Texten, die sich an ein breiteres Publikum richten, sowie vielen Abbildungen bietet er einen einzigartigen UEberblick uber das Werk dieses grossen Malers, Zeichners und Druckgrafikers.

The social problem of infant abandonment captured the public's imagination in Italy during the fifteenth century, a critical period of innovation and development in charitable discourses. As charity toward foundlings became a political priority, the patrons and supporters of foundling hospitals turned to visual culture to help them make their charitable work understandable to a wide audience. Focusing on four institutions in central Italy that possess significant surviving visual and archival material, Visual Cultures of Foundling Care in Renaissance Italy examines the discursive processes through which foundling care was identified, conceptualized, and promoted. The first book to consider the visual culture of foundling hospitals in Renaissance Italy, this study looks beyond the textual evidence to demonstrate that the institutional identities of foundling hospitals were articulated by means of a wide variety of visual forms, including book illumination, altarpieces, fresco cycles, institutional insignia, processional standards, prints, and reliquaries. The author draws on fields as diverse as art history, childhood studies, the history of charity, Renaissance studies, gender studies, sociology, and the history of religion to elucidate the pivotal role played by visual culture in framing and promoting the charitable succor of foundlings.

Though Bartolomeo Scappi's Opera (1570), the first illustrated cookbook, is well known to historians of food, up to now there has been no study of its illustrations, unique in printed books through the early seventeenth century. In Food and Knowledge in Renaissance Italy, Krohn both treats the illustrations in Scappi's cookbook as visual evidence for a lost material reality; and through the illustrations, including several newly-discovered hand-colored examples, connects Scappi's Opera with other types of late Renaissance illustrated books. What emerges from both of these approaches is a new way of thinking about the place of cookbooks in the history of knowledge. Krohn argues that with the increasing professionalization of many skills and trades, Scappi was at the vanguard of a new way of looking not just at the kitchen-as workshop or laboratory-but at the ways in which artisanal knowledge was visualized and disseminated by a range of craftsmen, from engineers to architects. The recipes in Scappi's Opera belong on the one hand to a genre of cookery books, household manuals, and courtesy books that was well established by the middle of the sixteenth century, but the illustrations suggest connections to an entirely different and emergent world of knowledge. It is through study of the illustrations that these connections are discerned, explained, and interpreted. As one of the most important cookbooks for early modern Europe, the time is ripe for a focused study of Scappi's Opera in the various contexts in which Krohn frames it: book history, antiquarianism, and visual studies.