In 1908, an idea arose during a conversation between Dr Felix Peipers and Rudolf Steiner. Steiner had been lecturing on the healing nature of the Egyptian Goddess Isis, and drew a parallel to the Christian Madonna, Mary. From that, Steiner and Peipers started to formulate a sequence of fifteen Madonna images, primarily by Raphael, which Dr Peipers used effectively in meditative therapy with his patients. All fifteen images are included in the book. This book explores the nature of the Madonna images, addressing topics ranging from the mystery of seeing, beauty, truth and goodness, and Sophia, the divine feminine wisdom, to Isis and Madonna, working with images and Rudolf Steiner's healing mission. There is a special section on Raphael's Sistine Madonna. This book is a perfect complement to Raphael's Madonnas (edited by Christopher Bamford), a beautiful collection of colour Madonna images.

Before the late sixteenth century, the churches of Florence were internally divided by monumental screens that separated the laity in the nave from the clergy in the choir precinct. Enabling both separation and mediation, these screens were impressive artistic structures that controlled social interactions, facilitated liturgical performances, and variably framed or obscured religious ritual and imagery. In the 1560s and 70s, screens were routinely destroyed in a period of religious reforms, irreversibly transforming the function, meaning, and spatial dynamics of the church interior. In this volume, Joanne Allen explores the widespread presence of screens and their role in Florentine social and religious life prior to the Counter-Reformation. She presents unpublished documentation and new reconstructions of screens and the choir precincts which they delimited. Elucidating issues such as gender, patronage, and class, her study makes these vanished structures comprehensible and deepens our understanding of the impact of religious reform on church architecture.

This publication includes all the sheets from Leonardo da Vinci's 'Anatomical Manuscript A'. The drawings were based on extensive human dissection and concentration on the musculo-skeletal systems of the human body and are annotated with explanations on his findings.

Painting landscapes was very much a private activity for Peter Paul Rubens. Whilst the majority of his other works were commissioned, the landscapes seem to have been painted for his own pleasure and delight and stayed in the artist's possession until his death. Most of them were painted in the last decade of his life; a happy period, in which Rubens retired from public duties and spent most of his free time studying the antique and enjoying sojourns on his country estate, castle Het Steen. To grasp this profoundly personal character of Rubens's landscapes, this book considers the artist's highly complex method of pictorial invention to illuminate the perception, implementation, dissemination, and posthumous reception of views on nature and landscape as depicted in Rubens's landscape art. By investigating contemporary notions on the changing perception of nature and landscape in late 16th and early 17th-century southern Netherlandish culture, Rubens's position within this socio-cultural matrix will be established, thus shedding new light on the artist's own perception of nature and landscape. The re-assessment of the influence of classical and contemporary ideas about nature and landscape, as well as Rubens's personal sense of place, will illuminate important characteristics which further define Rubens's ideas about nature implemented in his landscape art. Also, fresh light will be cast on the sudden promulgation and dissemination of Rubens's apparently private views on nature and landscape through a novel examination of the print series of the Small and Large Landscapes, reproducing the artist's landscapes. The final theme in this illuminating book considers the posthumous reception of Rubens's 'painted ideas of landscape'. The book also contains an updated version of the catalogue raisonne of Rubens's landscape art, supplemented by a record of the Small and Large Landscapes prints series.

Witches and ghosts, dream medicine, women's carnivals, masquerade, monsters, rebel angels, the ship of fools and the dance of death: Carnivals and Dreams explores the extraordinary world of Pieter Bruegel the Elder, Renaissance surrealist, student of folklore and painter of dreams. In the generation between Rabelais and Shakespeare, the Reformation shook the foundations of the collective imaginary. As the old visual cultures of carnival, dreams and the dead were fragmented and demonised in the minds of Europeans, Bruegel became the first artist to make popular culture the subject of serious art. In his hands, it became an inexhaustible medium through which he could address the new anxieties of his contemporaries. Louise Milne shows how Bruegel's inventions express the shifting mental landscapes of the sixteenth century, arguing that his art marks nothing less than the genesis of the modern nightmare in art and culture. This is a book that can be read on many levels, a ground-breaking cultural history of art and the visual imagination, explored in clear lucid prose, through a dazzling range of new sources. Louise S. Milne is a Lecturer at Edinburgh Napier University and Edinburgh College of Art. "Wonderfully rich and thought-provoking... Essential reading for anyone interested in culture in general and the work of Bruegel in particular." Lynne Holden, Cosmos "One of the most searching and imaginative studies of Pieter Bruegel's art ever published... Milne takes seriously the idea that art is or can be a kind of continuation of dreaming. Marvellous and long awaited." Christopher Wood, Yale University

'Study me reader, if you find delight in me...Come, O men, to see the miracles that such studies will disclose in nature.' Most of what we know about Leonardo da Vinci, we know because of his notebooks. Some 6,000 sheets of notes and drawings survive, which represent perhaps one-fifth of what he actually produced. In them he recorded everything that interested him in the world around him, and his study of how things work. With an artist's eye and a scientist's curiosity he studied the movement of water and the formation of rocks, the nature of flight and optics, anatomy, architecture, sculpture, and painting. He jotted down fables and letters and developed his belief in the sublime unity of nature and man. Through his notebooks we can get an insight into Leonardo's thoughts, and his approach to work and life. This selection offers a cross-section of his writings, organized around coherent themes. Fully updated, this new edition includes some 70 line drawings and a Preface by Martin Kemp, one of the world's leading authorities on Leonardo. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The Venetian painter Jacopo Tintoretto (1518-1594) is an ambiguous figure in the history of art. Critics and writers such as Vasari, Ruskin and Sartre all placed him in opposition to the established artistic practice of his time, noting that he had abandoned the values that typified the venerable Venetian Renaissance tradition. He was even expelled as an apprentice from the workshop of Titian. This informative and generously illustrated book offers a long-overdue re-evaluation of Tintoretto's unique work and entertaining life.

A "brisk and entertaining" (Wall Street Journal) journey into the mystery behind why the forbidden fruit became an apple, upending an explanation that stood for centuries.   How did the apple, unmentioned by the Bible, become the dominant symbol of temptation, sin, and the Fall? Temptation Transformed pursues this mystery across art and religious history, uncovering where, when, and why the forbidden fruit became an apple.   Azzan Yadin-Israel reveals that Eden’s fruit, once thought to be a fig or a grape, first appears as an apple in twelfth-century French art. He then traces this image back to its source in medieval storytelling. Though scholars often blame theologians for the apple, accounts of the Fall written in commonly spoken languages—French, German, and English—influenced a broader audience than cloistered Latin commentators. Azzan Yadin-Israel shows that, over time, the words for “fruit� in these languages narrowed until an apple in the Garden became self-evident. A wide-ranging study of early Christian thought, Renaissance art, and medieval languages, Temptation Transformed offers an eye-opening revisionist history of a central religious icon.

With the patronage of the powerful Medici family, a canon of secular and religious work, and contributions to the celebrated Sistine Chapel, Sandro Botticelli (1444/45-1510) was well placed for fame. After his death, however, his work was eclipsed for some four hundred years. It wasn't until the 19th century that the painter began to gain major art-historical recognition. Today, Botticelli is hailed as a towering figure of the Florentine Early Renaissance. His secular works The Birth of Venus and Primavera, mostly read as an allegory of Spring, are among the most recognized paintings in the world, resplendent in their delicate details, graceful lines, and compositional balance. His arrangements are fluid yet poised, his figures serene yet sensual. Venus, in particular, is held up as art-historical icon of beauty: pale-skinned, delicately featured, soft with fecund promise. This essential introduction presents key works from Botticelli's oeuvre to understand the making of a Renaissance legend. Through the painter's most famous mythological and allegorical scenes, as well as his radiant religious works, we explore a mastery of figuration, movement, and line, which has gone on to inspire artists from Edgar Degas to Andy Warhol, Rene Magritte to Cindy Sherman.

Compact and easy to use, this beautifully illustrated book looks at the major events in Leonardo's life: from his early childhood to his apprenticeship with Verrocchio and then the setting up of his own workshop in Florence, before leaving for Milan where his patron was Ludovico Sforza ('Il Moro' - the Moor). Packed with information about Leonardo's style of painting and drawing, as well as his work as a civil and military engineer, the book combines chapters on Leonardo's life with themed chapters that look at his inventions and key works, including such well-known paintings as the "Mona Lisa" and the "Last supper". It is augmented by the inclusion of 15 facsimile documents such as: numerous extracts from Leonardo's notebooks showing his famous 'mirror' writing and various sketches for inventions and studies for his works done from nature; Leonardo's letter to Ludovico Sforza; Leonardo's map of Imola; and, Leonardo's study of the organs and vascular system of a woman.

Peter Paul Rubens (1577-1640) proudly described his monumental painting Prometheus Bound as first among "the flower of my stock." This singular work demonstrates how Rubens engaged with and responded to his predecessors Michelangelo and Titian, with whom he shared an interest in depictions of physical torment. The Wrath of the Gods offers an in-depth case study of the Flemish artist's creative process and aesthetic, while also demonstrating why this particular painting has appealed to viewers over time. Many scholars have elaborated on Rubens's affinity for Titian, but his connection to Michelangelo has received far less attention. This study presents a new interpretation of Prometheus Bound, showing how Rubens created parallels between the pagan hero Prometheus and Michelangelo's Risen Christ from the Sistine Chapel's Last Judgment. Christopher D. M. Atkins expands our understanding of artistic transmission by elucidating how Rubens synthesized the works he saw in Italy, Spain, and his native Antwerp, and how Prometheus Bound in turn influenced Dutch, Flemish, and Italian artists. By emulating Rubens's composition, these artists circulated it throughout Europe, broadening its influence from his day to ours. Published in association with the Philadelphia Museum of Art Exhibition Schedule: Philadelphia Museum of Art (09/12/15-12/06/15)

An authoritative history of art history from its medieval origins to its modern predicaments In this authoritative book, the first of its kind in English, Christopher S. Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original and accessible account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history.

"Professor Wittkower's....studies of humanist architecture are masterpieces of scholarship."-Sir Kenneth Clark, Architectural Review.

A fourth edition of the forty-year-old classic.

Focusing on the principal architects of that time-from Alberti to Palladio-this bestselling classic explains the true significance of certain architectural forms, bringing to light the connections between the architecture and culture of the period. With publication scheduled to coincide with that of Architectonics of Humanism, this important reference is superbly reproduced in a new, large square format.

The late RUDOLF WITTKOWER was a college professor and eminent scholar residing in London, England.

This new edition of Leonardo Da Vinci's Codex Leicester is the most comprehensive scholarly edition of any of Leonardo's manuscripts. It contains a high-quality facsimile reproduction of the Codex, a new transcription and translation, accompanied by a paraphrase in modern language and a page-by-page commentary, and a series of interpretative essays. This important endeavour introduces important new research into the interpretation of the texts and images, on the setting of Leonardo's ideas in the context of ancient and medieval theories, and above all into the notable fortunes of the Codex within the sciences of astronomy, water, and the history of the earth, opening a new field of research into the impact of Leonardo as a scientist after his death.

Roston demonstrates that what emerges is not a fixed or monolithic pattern for each generation but a dynamic series of responses to shared challenges. The book relates leading English writers and literary modes to contemporary developments in architecture, painting, and sculpture, exploring by a close reading of the texts and the artistic works the insights such comparison offers. Originally published in 1987. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Albrecht Durer's prints and drawings have inspired hundreds of artists, both during his life and after his death. Yet his talent as a painter and colorist, and his enthusiasm for the scientific world have not been widely appreciated. Durer's influence was both international and intergenerational-indeed Picasso claimed to have been inspired by the 16th-century artist. Reproduced in stunning detail and including illustrations of Durer's most famous prints and drawings, a catalog raisonne of his paintings, and biographical research, this book presents a Durer for the 21st century. Producing more self-portraits than any other artist of his day; mass marketing his best-selling prints; even inventing his own monogram logo; Albrecht Du rer was commercially astute long before today's generation of self-promoting and financially-savvy artists. There are 55 extant Durer paintings, of which 17 are in dispute. Using scientific research, this book puts all arguments to bed resulting in the definitive catalog raisonne of the paintings. Drawing on in-depth research, this book reveals the truth behind Durer and his art.

This book comprises a rigorous and enchanting exploration of a highly innovative and exciting period of art following the careers of artists such as Van Eyck, Durer and Holbein. Jeffrey Chipps Smith analyses key conceptual aspects of that period, such as the Protestant Reformation and the discovery of the Americas, offering the reader a penetrative insight into domestic, civic and court life as illustrated by some of the most exquisite artworks ever created. In the years from 1380 to 1580, northern Europe witnessed a period of artistic innovation as dynamic as contemporary developments in Italy. Stimulated by the atmosphere of intellectual curiosity about the individual and the natural world, Northern Renaissance artists mastered the new techniques of oil painting and printmaking to produce some of the most exquisite art of all time. It was also a period of political, religious and social turmoil, which profoundly changed the patronage, production and subject matter of art. At all levels of society art was a part of everyday life. Chipps Smith writes with tireless lucidity about these changes and the objects themselves. The works range from tapestries, altarpieces and illuminated manuscripts to churches, palaces and civic architecture. He discusses the audiences and functions of art from across nothern Europe, including not only Germany, France and the Low Countries, but also Britain and Austria. He explores major cultural and historic events such as the Protestant Reformation and the discovery of the Americas, to consider how they widened intellectual and religious horizons. The result is a book that reveals, with passion and erudition, how the Northern Renaissance masters laid the foundations for the art of succeeding centuries.

This new edition of Leonardo Da Vinci's Codex Leicester is the most comprehensive scholarly edition of any of Leonardo's manuscripts. It contains a high-quality facsimile reproduction of the Codex, a new transcription and translation, accompanied by a paraphrase in modern language and a page-by-page commentary, and a series of interpretative essays. This important endeavour introduces important new research into the interpretation of the texts and images, on the setting of Leonardo's ideas in the context of ancient and medieval theories, and above all into the notable fortunes of the Codex within the sciences of astronomy, water, and the history of the earth, opening a new field of research into the impact of Leonardo as a scientist after his death.

Leonardo's greatest work of science beautifully reproduced for the 500th anniversary of his death. This edition offers a high-quality facsimile reproduction of Leonardo Da Vinci's Codex Leicester, a collection of his scientific writings. Named after Thomas Coke (later Earl of Leicester) who purchased it in 1719, Codex Leicester holds the record as the most expensive book ever when it was bought by Bill Gates in 1994. Consisting of 72 pages, it was handwritten in Italian by Leonardo using his characteristic mirror writing, and is supported by drawings and diagrams. The Codex Leicester is an extraordinary mixture of Leonardo's observations and theories. Topics include his explanation of why fossils can be found on mountains; the flow of water in rivers; and the luminosity of the moon which Leonardo attributed to its surface being covered by water which reflects light from the sun. The facsimile reproduction is complemented by three further volumes that include a new transcription and translation, accompanied by a paraphrase in modern language, a page-by-page commentary, and a series of interpretative essays. These four volumes together introduce important new research into the interpretation of the texts and images, on the setting of Leonardo's ideas in the context of ancient and medieval theories, and above all into the notable fortunes of the Codex within the sciences of astronomy, water, and the history of the earth, opening a new field of research into the impact of Leonardo as a scientist after his death.

The fourteen essays in this collection explore the dominance of patronage in Renaissance politics, religion, theatre, and artistic life.

Originally published in 1982.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Roston demonstrates that what emerges is not a fixed or monolithic pattern for each generation but a dynamic series of responses to shared challenges. The book relates leading English writers and literary modes to contemporary developments in architecture, painting, and sculpture, exploring by a close reading of the texts and the artistic works the insights such comparison offers.

Originally published in 1990.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Where previous accounts of the Renaissance have not fully acknowledged the role that music played in this decisive period of cultural history, Laurenz Lutteken merges historical music analysis with the analysis of the other arts to provide a richer context for the emergence and evolution of creative cultures across civilizations. This fascinating panorama foregrounds music as a substantial component of the era and considers musical works and practices in a wider cultural-historical context. Among the topics surveyed are music's relationship to antiquity, the position of music within systems of the arts, the emergence of the concept of the musical work, as well as music's relationship to the theory and practice of painting, literature, and architecture. What becomes clear is that the Renaissance gave rise to many musical concepts and practices that persist to this day, whether the figure of the composer, musical institutions, and modes of musical writing and memory.