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Books > Arts & Architecture > History of art / art & design styles > 1400 to 1600 > Renaissance art
This book offers nine new approaches toward a single work of art,
Titian's Allegory of Marriage or Allegory of Alfonso d'Avalos,
dated to 1530/5. In earlier references, the painting was named
simply Allegory, alluding to its enigmatic nature. The work follows
in a tradition of such ambiguous Venetian paintings as Giovanni
Bellini's Sacred Allegory and Giorgione's Tempest. Throughout the
years, Titian's Allegory has engendered a range of diverse
interpretations. Art historians such as Hans Tietze, Erwin
Panofsky, Walter Friedlaender, and Louis Hourticq, to mention only
a few, promoted various explanations. This book offers novel
approaches and suggests new meanings toward a further understanding
of this somewhat abstruse painting.
A genius immortalized her. A French king paid a fortune for her. An
emperor coveted her. Every year more than 9 million visitors trek
to view her portrait in the Louvre. Yet while everyone recognizes
her smile, hardly anyone knows her story. Mona Lisa: A Life
Discovered, a blend of biography, history, and memoir, truly is a
book of discovery-about the world's most recognized face, most
revered artist, and most praised and parodied painting. Who was
she, this ordinary woman who rose to such extraordinary fame? Why
did the most renowned painter of her time choose her as his model?
What became of her? And why does her smile enchant us still? Lisa
Gherardini (1479-1542) was a quintessential woman of her times,
caught in a whirl of political upheavals, family dramas, and public
scandals. Her life spanned the most tumultuous chapters in the
history of Florence-and of the greatest artistic outpouring the
world has ever seen. Her story creates an extraordinary tapestry of
Renaissance Florence, with larger-than-legend figures such as
Leonardo da Vinci, Michelangelo, and Machiavelli. In Mona Lisa: A
Life Discovered, Dianne Hales takes readers with her to meet Lisa's
descendants; uncover her family's long and colourful history; and
explore the neighbourhoods where she lived as a girl, a wife, and a
mother.
This book tells the story of one dynasty's struggle with water, to
control its flow and manage its representation. The role of water
in the art and festivals of Cosimo I and his heirs, Francesco I and
Ferdinando I de' Medici, informs this richly-illustrated
interdisciplinary study. Else draws on a wealth of visual and
documentary material to trace how the Medici sought to harness the
power of Neptune, whether in the application of his imagery or in
the control over waterways and maritime frontiers, as they
negotiated a place in the unstable political arena of Europe, and
competed with foreign powers more versed in maritime traditions and
aquatic imagery.
Inspired by research undertaken for the new Medieval &
Renaissance Galleries at the Victoria and Albert Museum,
"Re-thinking Renaissance Objects" explores and often challenges
some of the key issues and current debates relating to Renaissance
art and culture.Puts forward original research, including evidence
provided by an in-depth study arising from the Medieval &
Renaissance Gallery projectContributions are unusual in their
combination of a variety of approaches, but with each paper
starting with an examination of the objects themselvesNew theories
emerge from several papers, some of which challenge current
thinking
Leo Steinberg was one of the most original art historians of the
twentieth century, known for taking interpretive risks that
challenged the profession by overturning reigning orthodoxies. In
essays and lectures that ranged from old masters to contemporary
art, he combined scholarly erudition with an eloquent prose that
illuminated his subject and a credo that privileged the visual
evidence of the image over the literature written about it. His
writings, sometimes provocative and controversial, remain vital
reading. For half a century, Steinberg delved into Michelangelo's
work, revealing the symbolic structures underlying the artist's
highly charged idiom. This volume of essays and unpublished
lectures elucidates many of Michelangelo's paintings, from frescoes
in the Sistine Chapel to the Conversion of St. Paul and the
Crucifixion of St. Peter, the artist's lesser-known works in the
Vatican's Pauline Chapel; also included is a study of the
relationship of the Doni Madonna to Leonardo. Steinberg's
perceptions evolved from long, hard looking. Almost everything he
wrote included passages of old-fashioned formal analysis, but
always put into the service of interpretation. He understood that
Michelangelo's rendering of figures, as well as their gestures and
interrelations, conveys an emblematic significance masquerading
under the guise of naturalism. Michelangelo pushed Renaissance
naturalism into the furthest reaches of metaphor, using the
language of the body to express fundamental Christian tenets once
expressible only by poets and preachers. Michelangelo's Paintings
is the second volume in a series that presents Steinberg's
writings, selected and edited by his longtime associate Sheila
Schwartz.
This is an authoritative account of the Italian painter, architect
and draughtsman, Raphael, one of the most influential artists of
the High Renaissance. It is a lively study that examines his life,
the areas of Italy that shaped his work and the historical context
of the times. It explores his innovative style and his
compassionate depictions of Madonna and child groups, his portraits
and his works based on Bible stories and myths. It features a
wonderful gallery of his paintings and drawings with expert
analysis, and descriptions of his style and technique. It includes
beautiful illustrations of Raphael's great works, those of the
painters who influenced him, as well as artists who were inspired
by him in turn. Artist, architect and draughtsman, one of the great
masters and one of the most influential painters of the High
Renaissance, Raphael produced a huge body of work during his short
working life. His artistic development took place in Umbria, Rome
and Florence, where he met Michelangelo and Leonardo, and was
influenced by their dynamic and evocative images. Some of his
subsequent work reflected his admiration for them. In Rome, he
painted The School of Athens, a major fresco depicting the greatest
thinkers and philosophers of the past and present. His beautiful
style is reflected in the second part of the book in a gallery of
around 300 of Raphael's major paintings and drawings, with an
analysis of each in the context of his life, his technique and
oeuvre. Raphael was one of the greatest artists of all time; his
death in 1520 marked the end of the 16th century.
For more than five centuries The Last Supper has been an artistic,
religious and cultural icon. The art historian Kenneth Clark called
it 'the keystone of European art', and for a century after its
creation it was regarded as nothing less than a miraculous image.
And yet there is a very human story behind this artistic 'miracle'.
Ross King's Leonardo and the Last Supper is both a 'biography' of
one of the most famous works of art ever painted and a record of
Leonardo da Vinci's last five years in Milan.
It is generally accepted that the European Renaissance began in
Italy. However, a historical transformation of similar magnitude
also took place in northern Europe at the same time. This 'Other
Renaissance' was initially centred on the city of Bruges in
Flanders (modern Belgium), but its influence was soon being felt in
France, the German states, England, and even in Italy itself.
Following a sequence of major figures, including Copernicus,
Gutenberg, Luther, Catherine de Medici, Rabelais, van Eyck and
Shakespeare, Paul Strathern tells the fascinating story of how this
'Other Renaissance' played as significant a role as the Italian
renaissance in bringing our modern world into being.
The Renaissance, now in its third edition, engages with earlier and
current debates about the Renaissance, especially concerning its
'modernity', its elitism and gender bias and its globalism. This
new edition has been revised to include a discussion of Venice,
Rome, Naples and Florence and their relationship with surrounding
courts and smaller provincial towns. Brown provides a fresh insight
into some of the main themes of the Renaissance, with humanism now
being explored in relation to gender, the position of women and the
response of religious reformers to the new ideas. The broad
geographical scope, concluding with an examination of diffusion
through trade with Constantinople, Portugal and Spain, allows
students to fully explore how the Renaissance transformed into a
global movement. Key themes, such as humanism, art and
architecture, Renaissance theatre and the invention of printing,
are illustrated with quotations and exempla, making this book an
invaluable source for students of the Renaissance, early modern
history and social and cultural history.
The importance of place - as a unique spatial identity - has been
recognized since antiquity. Ancient references to the 'genius
loci', or spirit of place, evoked not only the location of a
distinct atmosphere or environment, but also the protection of this
location, and implicitly, its making and construction. This volume
examines the concept of place as it relates to architectural
production and building knowledge in early modern Europe
(1400-1800). The places explored in the book's ten essays take
various forms, from an individual dwelling to a cohesive urban
development to an extensive political territory. Within the scope
of each study, the authors draw on primary source documents and
original research to demonstrate the distinctive features of a
given architectural place, and how these are related to a
geographic location, social circumstances, and the contributions of
individual practitioners. The essays underscore the distinct
techniques, practices and organizational structures by which
physical places were made in the early modern period.
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Raphael
(Hardcover)
David Ekserdjian, Tom Henry; Contributions by Thomas P Campbell, Caroline Elam, Arnold Nesselrath, …
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R1,332
Discovery Miles 13 320
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Ships in 12 - 17 working days
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A definitive overview of one of the most celebrated figures of the
Italian Renaissance Among the great figures of the Italian
Renaissance, Raphael (1483-1520) is unarguably the artist who has
been most widely and consistently admired across the centuries. He
had an extraordinary and perhaps unrivaled capacity for
self-reinvention-as he progressed from Umbria to Florence and
Rome-and an ability to draw strength from the other great artists
around him, seemingly growing in stature the more daunting the
competition became. This insightful, impeccably researched, and
comprehensive volume chronicles the progress of his career in all
its richness and complexity. Sumptuous production values and
generous illustrations go hand in hand with its rigorous and
wide-ranging scholarship. The essays explore Raphael's paintings
and drawings, his frescoes in the Vatican Stanze, his designs for
tapestries, sculptures and prints, and his engagement with
architecture. Detailed and authoritative catalogue entries examine
many of Raphael's finest works. Published by National Gallery
Company/Distributed by Yale University Press Exhibition Schedule:
The National Gallery, London April 9-July 31, 2022
From the acclaimed author of Blue, a beautifully illustrated
history of yellow from antiquity to the present In this richly
illustrated book, Michel Pastoureau-a renowned authority on the
history of color and the author of celebrated volumes on blue,
black, green, and red-now traces the visual, social, and cultural
history of yellow. Focusing on European societies, with comparisons
from East Asia, India, Africa, and South America, Yellow tells the
intriguing story of the color's evolving place in art, religion,
fashion, literature, and science. In Europe today, yellow is a
discreet color, little present in everyday life and rarely carrying
great symbolism. This has not always been the case. In antiquity,
yellow was almost sacred, a symbol of light, warmth, and
prosperity. It became highly ambivalent in medieval Europe:
greenish yellow came to signify demonic sulfur and bile, the color
of forgers, lawless knights, Judas, and Lucifer-while warm yellow
recalled honey and gold, serving as a sign of pleasure and
abundance. In Asia, yellow has generally had a positive meaning. In
ancient China, yellow clothing was reserved for the emperor, while
in India the color is associated with happiness. Above all, yellow
is the color of Buddhism, whose temple doors are marked with it.
Throughout, Pastoureau illuminates the history of yellow with a
wealth of captivating images. With its striking design and
compelling text, Yellow is a feast for the eye and mind.
In this book, Robert Maniura explores the role and importance of
the miraculous image in the art and devotional practices of
Renaissance Italy. Using the records of Giuliano Guizzelmi, a
Tuscan lawyer, he focuses on his stories of miracles of local
shrines, including Santa Maria delle Carceri, a painting of the
Virgin Mary on a wall of the town prison, and the relic of her belt
in the Prato Cathedral. Guizzelmi's stories build a powerful
picture of the visual culture of the period, involving images that
were kissed, worn and applied to sick bodies in rituals of healing.
They also place his devotional activity in the context of his
everyday life. Moreover, the paintings of Guizzelmi's burial chapel
also engage with contemporary pictorial conventions and show how
his concerns can inform our understanding of contemporary art,
notably the works of his late fifteenth-century contemporaries,
Ghirlandaio, Perugino and Filippino Lippi.
The first half of this stunning new book explores Michelangelo's
fascinating life through his family, friends, patrons and
commissions. Born near Florence in 1475 Michelangelo grew up
surrounded by new forms of architecture, painting and sculpture.
His influences and achievements are explained clearly and
comprehensively with informative and attractive illustrations
throughout. The second half of the book contains a comprehensive
gallery of over 300 of his major works of sculpture, painting and
architecture. These superb reproductions are accompanied by
thorough analysis of each artwork and its significance with the
context of Michelangelo's life, his technique and his body of work
as a whole.
Portraits, an inherently personal subject, provide an engaging
entry point to an exploration of the politics, patronage, and power
in Renaissance Florence The Medici family ruled Florence without
interruption between 1434 and 1494, but following their return to
power in 1512, Cosimo I de' Medici demonstrated an unprecedented
ability to wield culture as a political tool. His rule transformed
Florence into a dynastic duchy and give Florentine art the central
position it has held ever since. As Florence underwent these
dramatic political transformations in the sixteenth century,
portraits became an essential means of recording a likeness and
conveying a sitter's character, social position, and cultural
ambitions. This fascinating book explores the ways that painters
(including Jacopo Pontormo, Agnolo Bronzino, and Francesco
Salviati), sculptors (such as Benvenuto Cellini), and artists in
other media endowed their works with an erudite and
self-consciously stylish character that distinguished Florentine
portraiture. Featuring more than ninety remarkable paintings,
sculptures, works on paper, and medals, this volume is written by a
team of leading international authors and presents a sweeping,
penetrating exploration of a crucial and vibrant period in Italian
art. Published by The Metropolitan Museum of Art/Distributed by
Yale University Press Exhibition Schedule: The Metropolitan Museum
of Art, New York (June 26-October 11, 2021)
Very few artists can claim such lasting and worldwide fame and
importance as Michelangelo Buonarroti (1475-1564). The nickname il
divino ("the divine one") has been applied to him since the 1530s
right through to today: his achievements as a sculptor, painter,
and architect remain unparalleled and his creations are among the
best-known artworks in the world. This Bibliotheca Universalis
edition is devoted to the artist's graphic work, a testimony to his
masterly command of line, form, and detail, from architectural
studies to anatomically perfect figures. The book brings together
some of the artist's finest drawings from museums and collections
around the world as well as some of his own notes and revisions,
offering stunning proximity not only to the ambition and scope of
Michelangelo's practice but also his working process. A chapter
with a compilation of newly attributed and reattributed drawings
provides further insights into Michelangelo's varied graphic oeuvre
and the ongoing exploration of his genius. About the series
Bibliotheca Universalis - Compact cultural companions celebrating
the eclectic TASCHEN universe!
Extensively illustrated, this is the first accessible publication
on the history of tapestry in over two decades. Woven with dazzling
images from history, mythology and the natural world, and
breath-taking in their craftsmanship, tapestries were among the
most valuable and high-status works of art available in Europe from
the medieval period to the end of the eighteenth century. Over 600
historic examples hang in National Trust properties in England and
Wales - the largest collection in the UK. This beautifully
illustrated study by tapestry expert Helen Wyld, in association
with the National Trust, offers new insights into these works, from
the complex themes embedded in their imagery, to long-forgotten
practices of sacred significance and ritual use. The range of
historical, mythological and pastoral themes that recur across the
centuries is explored, while the importance of the 'revival' of
tapestry from the late nineteenth century is considered in detail
for the first time. Although focussed on the National Trust's
collection, this book offers a fresh perspective on the history of
tapestry across Europe. Both the tapestry specialist and the keen
art-history enthusiast can find a wealth of information here about
woven wall hangings and furnishings, including methods of
production, purchase and distribution, evolving techniques and
technologies, the changing trends of subject matter across time,
and how tapestries have been collected, used and displayed in
British country houses across the centuries.
The formation and career of the first major woman artist of the
Renaissance Sofonisba Anguissola (ca. 1535-1625) was the daughter
of minor Lombard aristocrats who made the unprecedented decision to
have her trained as a painter outside the family house. She went on
to serve as an instructor to Isabel of Valois, the young queen of
Spain. Sofonisba's Lesson sheds new light on Sofonisba's work,
offering a major reassessment of a Renaissance painter who changed
the image of women's education in Europe-and who transformed
Western attitudes about who could be an artist. In this book,
Michael Cole demonstrates how teaching and learning were central
themes of Sofonisba's art, which shows women learning to read, play
chess, and paint. He looks at how her pictures challenged
conventional ideas about the teaching of young girls, and he
discusses her place in the history of the amateur, a new
Renaissance type. The book examines Sofonisba's relationships with
the group of people for whom her practice was important-her father
Amilcare, her teacher Bernardino Campi, the men and women who
sought to be associated with her, and her sisters and the other
young women who followed her path. Sofonisba's Lesson concludes
with a complete illustrated catalog of the more than two hundred
known paintings and drawings that writers have associated with
Sofonisba over the past 450 years, with a full accounting of modern
scholarly opinion on each.
Originally published in 2000. Fashioning Identities analyses some
of the different ways in which identities were fashioned in and
with art during the Renaissance, taken as meaning the period
c.1300-1600. The notion of such a search for new identities,
expressed in a variety of new themes, styles and genres, has been
all-pervasive in the historical and critical literature dealing
with the period, starting with Burckhardt, and it has been given a
new impetus by contemporary scholarship using a variety of
methodological approaches. The identities involved are those of
patrons, for whom artistic patronage was a means of consolidating
power, projecting ideologies, acquiring social prestige or building
a suitable public persona; and artists, who developed a distinctive
manner to fashion their artistic identity, or drew attention to
aspects of their artistic personality either in self portraiture,
or the style and placing of their signature, or by exploiting a
variety of literary forms.
This stunning catalogue presents The Courtauld's outstanding
collection of works by Renaissance artist Girolamo Francesco Maria
Mazzola, better known as Parmigianino (1503-1540). This catalogue
accompanies a display of works by Parmigianino at The Courtauld,
including his famous and enigmatic painting of the Virgin and
Child, as well as drawn studies for his most ambitious projects
such as the Madonna of the Long Neck and the frescoes of the church
of Santa Maria della Steccata in Parma. The latter was the last and
most important commission of his life and would have been his
triumphal homecoming. Instead, Parmigianino became entangled in his
experimental processes and failed to complete it, leading to his
brief imprisonment for breach of contract. Fundamentally a
draftsman at heart, Parmigianino drew relentlessly during his
relatively short life, and around a thousand of his drawings have
survived. The Courtauld's collection comprises twenty-four sheets.
In preparation for the catalogue, new photography and technical
examinations have been carried out on all the works revealing two
new drawings that were previously unknown, hidden underneath their
historic mounts. They have also helped to better identify
connections between some of the drawings and the finished paintings
for which they were conceived. The catalogue illustrates the whole
Courtauld collection, which also includes two paintings and more
than ten prints. As a printmaker, Parmigianino is considered to
have been the first to experiment with etching in Italy and was a
pioneer of the chiaroscuro woodcut technique. His refined and
graceful compositions were much appreciated by his contemporaries
and exalted by the artist and biographer Giorgio Vasari (1511-74).
This catalogue and display have been curated by Gottardo and
Rebecchini in collaboration with former and current research
students at The Courtauld, and technical research has been
conducted by members of The Courtauld Conservation Institute. A
truly collaborative project, the catalogue sheds light on an artist
who approached every technique with unprecedented freedom and
produced innovative works which were studied and admired by artists
and collectors for many years to come.
Drawing on recent research by established and emerging scholars of
sixteenth- and seventeenth-century art, this volume reconsiders the
art and architecture produced after 1563 across the conventional
geographic borders. Rather than considering this period a degraded
afterword to Renaissance classicism or an inchoate proto-Baroque,
the book seeks to understand the art on its own terms. By
considering artists such as Federico Barocci and Stefano Maderno in
Italy, Hendrick Goltzius in the Netherlands, Antoine Caron in
France, Francisco Ribalta in Spain, and Bartolomeo Bitti in Peru,
the contributors highlight lesser known "reforms" of art from
outside the conventional centers. As the first text to cover this
formative period from an international perspective, this volume
casts new light on the aftermath of the Renaissance and the
beginnings of "Baroque."
Leonardo da Vinci lived an itinerant life. Throughout his career -
from its beginnings in the creative maelstrom of fifteenth-century
Florence to his role as genius in residence at the court of the
king of France - Leonardo created a kind of private universe for
himself and his work. Leonardo also spent a great deal of time away
from his easel, pursuing his interest in engineering, natural
science, sculpture, poetry, fables, music and anatomy. In the time
that another artist would finish a series of paintings, he would
work on one. Sometimes a painting would take decades, accompanying
him on his travels as he worked on other commissions. Leonardo's
private world was both vibrant and active. It sometimes did and at
other times did not interact with the wider world. But what emerged
from it has established Leonardo as the definition of the
Renaissance Man.
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