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Emulation is a challenging middle ground between imitation and invention. The idea of rivaling by means of imitation, as old as the Aenead and as modern as Michelangelo, fit neither the pessimistic deference of the neoclassicists nor the revolutionary spirit of the Romantics. Emulation thus disappeared along with the Renaissance humanist tradition, but it is slowly being recovered in the scholarship of Roman art. It remains to recover emulation for the Renaissance itself, and to revivify it for modern practice. Mayernik argues that it was the absence of a coherent understanding of emulation that fostered the fissuring of artistic production in the later eighteenth century into those devoted to copying the past and those interested in continual novelty, a situation solidified over the course of the nineteenth century and mostly taken for granted today. This book is a unique contribution to our understanding of the historical phenomenon of emulation, and perhaps more importantly a timely argument for its value to contemporary practice.
Emulation is a challenging middle ground between imitation and invention. The idea of rivaling by means of imitation, as old as the Aenead and as modern as Michelangelo, fit neither the pessimistic deference of the neoclassicists nor the revolutionary spirit of the Romantics. Emulation thus disappeared along with the Renaissance humanist tradition, but it is slowly being recovered in the scholarship of Roman art. It remains to recover emulation for the Renaissance itself, and to revivify it for modern practice. Mayernik argues that it was the absence of a coherent understanding of emulation that fostered the fissuring of artistic production in the later eighteenth century into those devoted to copying the past and those interested in continual novelty, a situation solidified over the course of the nineteenth century and mostly taken for granted today. This book is a unique contribution to our understanding of the historical phenomenon of emulation, and perhaps more importantly a timely argument for its value to contemporary practice.
For Italian city builders more than a thousand years ago, the urban realm was the great theater where their best aspirations were played out, the place where society said the most substantial things about who they were and what they longed for. In this masterful blend of art and cultural history, architect David Mayernik reveals how the very different cities of Venice, Rome, Florence, Siena, and Pienza were all literally designed to be both models of the mind and images of heaven. Mayernik takes the reader on a journey into the past in Timeless Cities, but he also explains why these city-building ideas remain relevant today. For those traveling on vacation or appreciating the art and architecture of Italy from home, Mayernik helps bring the wonder and beauty of the Renaissance mind a little closer.
Architect and engraver Paul Letarouilly dedicated more than 30
years of his life to creating the most complete collection of
plans, elevations, and details of the buildings and monuments of
Renaissance Rome. This student's edition of his achievement
features highlights from five massive volumes, originally published
between 1825 and 1882. Its systematic overview illustrates the
principles of design behind the works of Michelangelo, Sangallo,
Peruzzi, Vignola, Bramante, Bernini, Fontana, dalla Porta, Maderno,
Borromini, and other great builders of the sixteenth and
seventeenth centuries.
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