For too long, the 'centre' of the Renaissance has been considered to be Rome and the art produced in, or inspired by it. This collection of essays dedicated to Deborah Howard brings together an impressive group of internationally recognised scholars of art and architecture to showcase both the diversity within and the porosity between the 'centre' and 'periphery' in Renaissance art. Without abandoning Rome, but together with other centres of art production, the essays both shift their focus away from conventional categories and bring together recent trends in Renaissance studies, notably a focus on cultural contact, material culture and historiography. They explore the material mechanisms for the transmission and evolution of ideas, artistic training and networks, as well as the dynamics of collaboration and exchange between artists, theorists and patrons. The chapters, each with a wealth of groundbreaking research and previously unpublished documentary evidence, as well as innovative methodologies, reinterpret Italian art relating to canonical sites and artists such as Michelangelo, Titian, Tintoretto, Veronese, and Sebastiano del Piombo, in addition to showcasing the work of several hitherto neglected architects, painters, and an inimitable engineer-inventor.

Prints changed the history of art, even as that history was first being written. In this study, Sharon Gregory argues that this reality was not lost on Vasari; she shows that, contrary to common opinion, prints thoroughly pervade Vasari's history of art, just as they pervade his own career as an artist. This volume examines Giorgio Vasari's interest, as an art historian and as an artist, in engravings and woodblock prints, shedding new light not only on aspects of Vasari's career, but also on aspects of sixteenth-century artistic culture and artistic practice. It is the first book to study his interest in prints from this dual perspective. Investigating how prints were themselves more often interpretive than strictly reproductive, Gregory challenges the long-held view that Vasari's reliance on prints led to errors in his interpretation of major monuments. She demonstrates how, like Raphael and later artists, Vasari used engravings after his designs as a form of advertisement through which he hoped to increase his fame and attract influential patrons. She also explores how contributing illustrations for books by his scholarly friends, Vasari participated in the contemporary exchange of intellectual ideas and concerns shared by Renaissance humanists and artists.

Decorated by Giovanni Buonconsiglio, Jacopo Tintoretto, Palma il Giovane, Sebastiano Ricci and Giambattista Tiepolo, the church of the former Benedictine female monastery Santi Cosma e Damiano occupies an outstanding position in Venice. The author of this study argues that from its foundation in 1481 to its dissolution in 1805, Santi Cosma e Damiano was a reform convent, and that its nuns employed art and architecture as a means to actively express their specific religious concerns. While on the one hand focusing, on the basis of extensive archival research, on the reconstruction of the history and construction of the convent, this study's larger concern is with the religious reform movement, its ideas concerning art and architecture, and with the convent as a space for female self-realization in early modern Venice.

Ideal painting in the Renaissance was an art of illusionism that eliminated for the viewer any overt sense of its making. Titian's paintings, in contrast, with their roughly worked and "open" surfaces, unexpected glazes, and thick impasto brushstrokes, made the fact of the paint increasingly visible. Previous scholars have read these paintings as unfinished or the product of lesser studio hands, but in The Muddied Mirror, Jodi Cranston argues that this approach to paint is integral to Titian's later work. Rather than presenting in paint a precise reflection of the visible world, the artist imparted an intrinsic corporeality to his subjects through the varying mass and thickness of the paint. It is precisely the materiality and "disfiguration" of these paintings that offer us the key to understanding their meanings. More important, the subjects of Titian's late paintings are directly related to the materiality of the body--they represent physical changes wrought through violence, metamorphosis, and desire.

Richly illustrated, and featuring detailed descriptions of works by pivotal figures in the Italian Renaissance, this enlightening volume traces the development of art and architecture throughout the Italian peninsula in the fifteenth and sixteenth centuries. * A smart, elegant, and jargon-free analysis of the Italian Renaissance what it was, what it means, and why we should study it * Provides a sustained discussion of many great works of Renaissance art that will significantly enhance readers understanding of the period * Focuses on Renaissance art and architecture as it developed throughout the Italian peninsula, from Venice to Sicily * Situates the Italian Renaissance in the wider context of the history of art * Includes detailed interpretation of works by a host of pivotal Renaissance artists, both well and lesser known

The porcelain collection of the Staatliche Kunstsammlungen Dresden comprises over 300 exceptional figurative pieces by the sculptors Gottlieb Kirchner (1706-ca. 1768) and Johann Joachim Kaendler (1706-1775), whose works served as models for the later European porcelain manufactures. German text.

This book provides a fully contextualised overview on aspects of visual culture, and how this was the product of patronage, politics, and religion in some European countries between the 13th and 17th centuries. The research that is showcased here offers new perspectives on the conception, production and reception of artworks as a means of projecting core values, ideals, and traditions of individuals, groups, and communities. This volume features contributions from established scholars and new researchers in the field, and examines how art contributed to the construction of identities by means of new archival research and a thorough interdisciplinary approach. The authors suggest that the use of conventions in style and iconography allowed the local and wider community to take part in rituals and devotional practices where these works were widely recognized symbols. However, alongside established traditions, new, ad-hoc developments in style and iconography were devised to suit individual requirements, and these are fully discussed in relevant case-studies. This book also contributes to a new understanding of the interaction between artists, patrons, and viewers in Medieval and Renaissance times.

The Moretti Gallery presents this compilation of carefully chosen paintings and accompanying critical essays intended as a tool for approaching its collection of late-medieval and early Renaissance works. Italian and English text.

Caravaggio's (ca. 1571-1610) spectacularly new way of painting was also enthusiastically received by his Dutch contemporaries and inspired them to new illustrative inventions. This catalog demonstrates how his followers in Utrecht developed a new type of musicians' portraits through the dialog with its Italian model. German text.

Der Band enthalt die Edition der mittelalterlichen und fruhneuzeitlichen Inschriften des Bearbeitungsgebiets in insgesamt 520 Katalognummern. Berucksichtigt sind sowohl die noch im Original erhaltenen als auch die nur mehr kopial uberlieferten Texte. Der Anteil der hier erstmals veroffentlichten Inschriften betragt uber 50%. Die bedeutendsten Inschriftenstandorte sind Mergentheim, ab dem 16. Jahrhundert Residenz der Hochmeister des Deutschen Ordens, sodann das an der Wende vom 16. zum 17. Jahrhundert zur hohenlohischen Residenz ausgebaute Weikersheim und Creglingen mit seinen reichen Grabmalerbestanden in der Herrgottskapelle und in der Stadtkirche. Daneben weisen vor allem die Ritterschaftsorte Niederstetten, Wachbach, Laudenbach und Waldmannshofen mit ihren Adelsgrablegen sowie das ehemalige Zisterzienserinnenkloster Frauental und das deutschordische Dorf Markelsheim umfangreichere Inschriftenbestande auf. Auch die Inschriften des heute in Wien aufbewahrten Deutschordensschatzes finden in dem Band Berucksichtigung. Neben den Grab-, Glocken- und Bauinschriften, die den grossten Teil des Bestandes ausmachen, fehlt auch Kurioses nicht, wie etwa die Ermahnung zur Hygiene an die Benutzer eines Aborts in Creglingen aus dem spaten 16. Jahrhundert. Der chronologisch aufgebaute Katalogteil wird durch zahlreiche Abbildungen und eine Einleitung erganzt, die neben einer historischen Einfuhrung eine erste Auswertung des Materials bietet. Der Erschliessung der Inschriften dienen 17 ausfuhrliche Einzelregister.

This work, the fruit of more than ten years of research, consists of a systematic cataloguing of all Florentine painters, and of all the painters active over many years in the Tuscan city, between the early 17 th and the end of the 18 th Centuries. Alongside artists who have already won renown and about whom various monographic studies already exist, this publication shines a collateral light on relatively unknown personages who are worthy of more than a little interest. In some cases these are artists otherwise unknown to contemporary criticism. The intention is to make a significant contribution to art history and the work is in some cases decisive in its attributions of uncertain works that have hitherto been habitually associated only with the better-known names. The three volumes are accompanied by biographies and lists of paintings along with, as is to be expected, an ample selection of approximately 1,800 colour and monochrome photographic reproductions. Volume I (312 pages) Presentation and introduction by Mina Gregori Colour plates I-CVI Biographies of the artists and index of works Bibliography, index of artists in the catalogue, of names and place names Volume II (376 pages) Plates 1-824 (Allori - Guiducci) Volume III (392 pages) Plates 825-1,698 (Hugford - Zocchi)

English Description: Group portraits are an exceptional form of Dutch painting that particularly took hold in the burgeoning metropolis of Amsterdam. This volume focuses on the 17th century, the "Golden Age" of Dutch painting, and 11 famous group portraits that perfectly capture the essence of Dutch society at that time. The group portraits were commissioned for special occasions and displayed prominently as commemorations on the premises of a variety of institutions that played an important role in the political and economic life of the city. Painters include Adriaen Backer, Frans Badens, Ferdinand Bol, Gerbrand van den Eeckhout, Govert Flinck, Bartholomeus van deer Helst, Nicolaes Eliasz Pickenoy, and Dirck van Santvoort. German text. German description: Das Gruppenportrat stellt eine herausragende hollandische Bildform dar, die besonders in der aufbluehenden Metropole Amsterdam Fua fasste. Im Zentrum des Katalog-Buches steht das 17. Jahrhundert, das so genannte "Goldene Zeitalter" und elf beruehmte Gruppenportrats, die das damalige Wesen der hollandischen Gesellschaft vollkommen ausdruecken. Regelmaaig lieaen sich Mitglieder des vermogenden Stadtbuergertums in voller Lebensgroae vereint darstellen, wie sie von Amts wegen gemeinsame Aufgaben wahrnehmen. Der besondere Reiz dieser Bilder aus dem 17. Jahrhundert besteht nicht zuletzt in ihrem unmittelbaren Bezug zur Gegenwart. Was damals in einem vom monarchischen Absolutismus gepragten Europa eine Ausnahme darstellte, bildet im heutigen politischen und wirtschaftlichen Leben die Regel: Organisationen und Firmen werden von Personengruppen als Kommissionen, Kuratorien oder Aufsichtsrate gefuehrt. Damit schlagen diese Bilder eine Bruecke, die Vergan- genheit und heutige Lebenswelt unmittelbar verbindet. Die Gruppenportrats wurden zu besonderen Anlassen in Auftrag gegeben und zur Erinnerung in den Reprasentationsraumen der Institutionen aufgehangt. Sie gelangten nach deren Auflosung in das Eigentum der Stadt Amsterdam, einen Teil bildet die Schuttersgalerij im Amsterdams Historisch Museum. Aus diesem Bestand wurden die elf Bilder der Ausstellung ausgewahlt, die von den Malern Adriaen Backer, Frans Badens, Ferdinand Bol, Gerbrand van den Eeckhout, Govert Flinck, Bartholomeus van der Helst, Nicolaes Eliasz Pickenoy und Dirck van Santvoort stammen.

This is the catalogue of an exhibition held at the Museum of Archeology and Art in Grosseto, Italy, from May to September 2008 in which thirty-one masterpieces of sixteenth-century Tuscan art were displayed for the public, most for the first time. Precise reproductions, both complete and in detail, are accompanied by rigorous academic and philological critical essays. The catalogue provides the reader with a striking pictorial treasure of rare beauty, while also appealing to scholars and experts through the quality of so many previously unpublished works by over twenty famous artists from the period. Italian text.

Articles presented at the conference on Florentine Renaissance palaces held at the State Archives in Florence in 2005. Various articles deal with architecture, facades, interior design, politics and style, all in relation to Renaissance palatial edifices in Florence. Papers in Italian and English. SOMMARIO: Brenda Preyer, Non solo facciate: dentro i palazzi Pazzi, Lenzi e Ridolfi Guidi Gianluca Belli, Il disegno delle facciate nei palazzi fiorentini del Quattrocento Riccardo Pacciani, Spazi e forme del culto in palazzi d'area fiorentina, 1370-1470. Dalla casata in chiesa alla chiesa in casa Linda Pellecchia, Stepping Up: Observations on the Renaissance Starcaise in Florence Carla G. Romby, Dietro la facciata. Rinnovamento e qualita dell'abitare nelle dimore fiorentine del Quattrocento Michael Lingohr, Un contributo alla lettura del palazzo da Gagliano a Firenze. Temi stilistici o politici nella Firenze del primo Cinquecento? Gabriele Morolli, Gli "horti" suburbani di Boboli. da Luca Pitti a Eleonora di Toledo: 'belvedere' albertiano o 'delizia' vasariana? Amedeo Belluzzi, Palazzi fiorentini del secondo Cinquecento Emanuela Ferretti, Un cantiere fiorentino nella Roma di meta Cinquecento. Nanni di Baccio e il palazzo di Averardo Serristori in Borgo Vecchio: Delizie per gli eruditi Caterina D'Amelio, Il palazzo Lenzi nei secoli XVII e XVIII. La proprieta Buini: storia e documenti Francesca Carrara, L'intrigante vicenda fiorentina di don Luigi di Toledo.

Andrea del Sarto's 1514 painting The Holy Family with St. Elizabeth, St. John the Baptist and two angels counts as one of the masterpieces of Italian painting in Munich's Alte Pinakothek. Her art, at the threshold between High Renaissance and Mannerism, is the focus of a special exhibition, and is extensively documented in this publication. For nearly 20 years, the painting was withdrawn from public viewing as its poor state required extensive restorations. To mark its return to the gallery in Munich from the collection of the Elector Johann Wilhelm in Dusseldorf, the painting is presented together with del Sarto's second version of the theme, currently in the possession of the Louvre. This results in the first opportunity to analyze the relationships between the two works side by side. This catalog documents and analyzes the art historical research and the results of detailed investigation of both paintings. German text.

Der Band enthalt die kommentierte Edition von 180 Inschriften der Stadt Goslar in ihren heutigen Grenzen bis zum Jahr 1650 sowie weitere 67 Jahreszahlen, Initialen und Christusmonogramme. Erfasst werden nicht nur die im Original erhaltenen Inschriften, sondern auch diejenigen, die nur noch in alteren Abschriften oder Photographien vorliegen. Den Schwerpunkt des Bandes bilden die im Zusammenhang von Wand- und Deckenmalereien angebrachten Texte, unter denen der fruhneuzeitliche Sibyllenzyklus in der Goslarer Ratsstube (Huldigungssaal) als das hervorragendste Beispiel anzusehen ist. Den grossten Anteil an dem hier vorgelegten Bestand haben in der Fachwerkstadt Goslar die das Stadtbild pragenden Hausinschriften. Sie uberliefern eine grosse Anzahl von Namen und Daten und stellen somit zusammen mit den Grab- und Stifterinschriften eine reichhaltige Quelle fur die Personengeschichte der Stadt dar. Die Inschriftentexte werden unter Auflosung der Abkurzungen ediert und kommentiert. Lateinische Inschriften und Texte alterer deutscher Sprachstufen werden ubersetzt. Ein ausfuhrlicher Tafelteil erganzt die Edition und den Kommentar.

This comprehensive study of the sculptures of Gianlorenzo Bernini (1598-1680) follows in twelve chapters his development as an artist and the area in which he excelled: portraits, the likeness of which astonished his contemporaries; the sculptures for St Peter in Rome; his extraordinary fountains; the timeless beauty of his renderings of mythological figures. German text. Die umfassende Monographie ueber die Skulpturen Gianlorenzo Berninis (1598-1680) beleuchtet in zwolf Kapiteln die Stationen seiner Entwicklung und die Gebiete, in denen er brillierte: die Portrats, deren -sprechende- Ahnlichkeit die Zeitgenossen verblueffte, die Werke fuer den Petersdom, die grandiosen Brunnen und seine Heiligen und zeitlos schonen Gestalten der antiken Mythologie. Den ausgefuehrten Werken gegenuebergestellte Vorzeichnungen, Tonskizzen und Modelle erlauben einen faszinierenden Einblick in den kuenstlerischen Schaffensprozea.

Innerhalb der umfangreichen Gruppe anonymer, fruhniederlandischen Bildwerke zeichnet sich das New Yorker Diptychon ebenso wie die stilistisch verwandten Miniaturen des Turin-Mailander Stundenbuches durch besondere Nahe zum Spatwerk Jan van Eycks aus. Ausgehend von der Forschungsgeschichte zu diesen beiden Werken wird die These vertreten, dass beide Tafeln von Jan van Eyck konzipiert und auch grosstenteils von ihm selbst ausgefuhrt wurden. Die zeitliche Einordnung der beiden Tafeln zwischen den Eyckschen Miniaturen und den signierten Tafeln aus den 30er Jahren, erhalt durch einen allgemeineren Medienvergleich Gewicht, der die unterschiedlichen Ausdrucksformen von Buch- und Tafelmalerei untersucht und die transitorische Gestalt des Diptychons bestatigt. Die Nahe des Tafelbildes zur zeitgenossischen Buchmalerei wird nicht nur im Stil des Werkes fassbar, sondern liegt auch in der neuartigen Erzahlstruktur der beiden Darstellungen begrundet. Ikonographie und Bildaufbau weisen ebenfalls auf Innovationen im Bereich dieses Mediums hin. In diesem Zusammenhang wird die Darstellungstradition der Themen Kreuzigung, Jungstes Gericht und Holle, wie sie zu Beginn des Jahrhunderts nordlich der Alpen auftreten, in ihrer Entwicklung genauer untersucht.

Die Bearbeitung historischer Quellen erfordert neben ihrer Interpretation die genaue Erfassung und Beschreibung des Materials. Bei der Edition von Inschriften aus Mittelalter und fruher Neuzeit mussen viele verschiedene epigraphische Schriften analysiert, datiert und beschrieben werden. Dieser Band ermoglicht nun die genaue Beschreibung der epigraphischen Schriftformen nach einem einheitlichen und einfachen sprachlichen Muster. Die Terminologie, entwickelt anhand des deutschen und osterreichischen Inschriftenmaterials, wird in dem vorliegenden Leitfaden ausfuhrlich vorgestellt und soll helfen, die Charakterisierung von Schriften und Einzelbuchstaben nachzuvollziehen. In alphabetischer Folge sind Grund- und Erscheinungsformen der Buchstaben aller mittelalterlichen und fruhneuzeitlichen epigraphischen Schriften beschrieben; weitgehend ausgespart werden mussten terminologische Uberlegungen zur Beschreibung von Versalien. Dem Hauptteil - der Zeichnung und Beschreibung aller Buchstabenformen - gehen Anleitungen zur Beschreibung allgemeiner Phanomene von Inschriften, wie ihrer Verteilung und Anordnung auf dem Inschriftentrager und ihrer technischen Gestaltung sowie eine Systematik zur Benennung von Buchstabenteilen voraus. Da Inschriften nicht nur aus Buchstaben bestehen, enthalt die Terminologie auch ausfuhrliche Beispielsammlungen zu Trennzeichen aller Art, Zierformen, Kurzungszeichen und arabischen Ziffern. Alle beschriebenen Phanomene sind als Legenden zu Zeichnungen erklart und daher aus den Bildern zu verstehen. Fur Wissenschaftler, Studenten und interessierte Laien liegt mit diesem Band zur Schriftbeschreibung nun ein notwendiges und nutzliches Hilfsmittel zur Bearbeitung mittelalterlicher und fruhneuzeitlicher Inschriften vor.