History of Italian Renaissance Art
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|Author||: Frederick Hartt,David G. Wilkins|
|Editor||: Pearson College Division|
For survey courses in Italian Renaissance art. A broad survey of art and architecture in Italy between c. 1250 and 1600, this book approaches the works from the point of view of the artist as individual creator and as an expression of the city within which the artist was working. History of Italian Renaissance Art, Seventh Edition, brings you an updated understanding of this pivotal period as it incorporates new research and current art historical thinking, while also maintaining the integrity of the story that Frederick Hartt first told so enthusiastically many years ago. Choosing to retain Frederick Hartt's traditional framework, David Wilkins' incisive revisions keep the book fresh and up-to-date.
|Author||: Frederick Hartt,Discontinued 3pd,David G. Wilkins|
|Editor||: Harry N Abrams Incorporated|
The Italian Renaissance is revealed in all its splendor through 854 striking illustrations depicting all aspects of this unparalleled explosion of human artistic creativity and enterprise.
|Author||: Frederick Hartt,David G. Wilkins|
|Editor||: Upper Saddle River, N.J. : Pearson|
'History of Italian Renaissance Art' provides readers with an understanding of this pivotal period, incorporating research and current art historical thinking while also maintaining the integrity of the story that Frederick Hartt first told so enthusiastically many years ago. Choosing to retain Frederick Hartt's traditional framework, David Wilkins has introduced a number of changes. Newly added works of art demonstrate the diversity of the period. Secular pieces such as a cassone with its original framework largely intact, an early desco da parto made for the Medici family, two examples of majolica dinnerware, along with a new series of portraits of patrons and personalities of the period have been selected because they enrich our knowledge of the context within which these works were created. Other illustrations have been added to enhance our understanding of important Renaissance works. These include views of architecture and of large fresco cycles and sculptures that remain in situ. There is also a bibliography that provides a guide for further reading about artists and key topics.
|Author||: Christiane L. Joost-Gaugier|
|Editor||: John Wiley & Sons|
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
|Author||: Stephen J. Campbell,Michael Wayne Cole|
A new edition--now in two volumes--of the largest and most comprehensive textbook about Italian Renaissance art. Now in its second edition, Italian Renaissance Art presents an updated and even more accessible history. The book has been split into two volumes: the first, covering the period 1300 to 1510; the second, 1490 to 1600. The volumes retain the same innovative decade-by-decade structure as the first edition, and a number of chapters have been revised by the authors to reflect the latest scholarship. The coverage of the Trecento has been expanded, and a new appendix section explains all the key Renaissance art-making techniques, with illustrations and step-by-steps for such processes as lost-wax casting. This book tells the story of art in the great cities of Rome, Florence, and Venice while profiling a range of other centers throughout Italy--including in this edition art from Naples, Padua, and Palermo.
|Author||: Stephen Campbell,Michael Wayne Cole|
Campbell and Cole, respected teachers and active researchers, draw on traditional and current scholarship to present complex interpretations in this new edition of their engaging account of Italian Renaissance art. The book's unique decade-by-decade structure is easy to follow, and permits the authors to tell the story of art not only in the great centres of Rome, Florence and Venice, but also in a range of other cities and sites throughout Italy, including more in this edition from Naples, Padua and Palermo. This approach allows the artworks to take centre-stage, in contrast to the book's competitors, which are organized by location or by artist. Other updates for this edition include an expanded first chapter on the Trecento, and a new 'Techniques and Materials' appendix that explains and illustrates all of the major art-making processes of the period. Richly illustrated with high-quality reproductions and new photography of recent restorations, it presents the classic canon of Renaissance painting and sculpture in full, while expanding the scope of conventional surveys by offering a more thorough coverage of architecture, decorative and domestic arts, and print media.
|Author||: Laurie Schneider Adams|
Now thoroughly revised and updated throughout, featuring extended discussions of Mannerism and the expanding role of women in the visual arts and significant illustration program enhancements, Italian Renaissance Art is a readable, student-friendly, lavishly-illustrated introduction to one of the greatest periods of artistic genius in western history. Art historian Laurie Schneider Adams opens the text with the late Byzantine work of Cimabue and concludes with the transition to Mannerism. The author presents the most important and innovative artists and their principal works, with a clear emphasis on selectivity and understanding. Italian Renaissance Art also focuses on style and iconography, and on art and artists, incorporating different methodological approaches to create a wider understanding and appreciation of the art. Distinguishing features of the second edition include: More than 400 images throughout the work, with over 300 in full-color. Over 50 images were changed from black and white to full-color for this edition. Illustration program now includes works by Correggio, Bronzino, and Pontormo.Large format illustrations retained for readability and visual access by students. Design changes make the text more attractive and readable. 'Connections', with thumbnail images of earlier works, show the historical continuity of the images. 'Comparison' thumbnails have also been added for the purpose of comparing and contrasting later works with earlier ones. New treatment of Mannerism and the expanding role of women in the visual arts. Coverage includes Lavinia Fontana, Sofonisba Anguissola, and Properzia de' Rossi, and a new feature box discusses the role of Isabella d'Este as an influential art patron and humanist. Maps, plans, and diagrams included throughout. Also features a historical chronology, a full glossary of art-historical terms, and a select bibliography.
|Author||: Stephen John Campbell,Michael Wayne Cole|
Stephen Campbell and Michael Cole introduce Italian Renaissance art in this easy-to-follow chronological survey. Drawing on the most recent scholarship, their book makes new approaches accessible to students and non-specialist readers, telling the story of art in the great centres of Rome, Florence and Venice while profiling a range of other cities and sites throughout Italy. The book uses a novel decade-by-decade structure, which allows students to follow the chronology easily, as well as enabling collaborative works to be discussed in their entirety, and ensuring that discussion of minor centres can be brought in as needed. It presents the classic canon of Renaissance painting and sculpture in full, while expanding the scope of conventional surveys by offering a more thorough coverage of architecture, decorative and domestic arts, and print media. Rather than emphasizing artists biographies, this new account concentrates on the works, discussing means of production, the places for which images were made, the concerns of patrons, and the expectations and responses of the works first viewers. Renaissance art is seen as decidedly new, a moment in the history of art whose concerns persist in the present. Dazzlingly ambitious and fiercely intelligent, this is very much a book of today, which seems destined to remain the survey of choice for years to come David Ekserdjian, Leicester University A fine and original new introduction to Italian Renaissance art [it] generates new perspectives on the progress and parameters of an entire visual tradition Tom Nichols, University of Aberdeen
|Author||: Giorgio Vasari|
|Author||: Evelyn S. Welch|
|Editor||: Oxford University Press, USA|
"Focuses primarliy on the social and historical context in which art was made and used"--Bibliographic essay (p. 326).
|Author||: Frederick Hartt,David G. Wilkins|
|Editor||: Prentice Hall Press|
"History of Italian Renaissance Art, sixth edition, provides readers with an updated understanding of this pivotal period, incorporating new research and current art historical thinking while also maintaining the integrity of the story that Frederick Hartt first told so enthusiastically many years ago. Choosing to retain Frederick Hartt's traditional framework, David Wilkins has introduced a number of changes. Newly added works of art demonstrate the diversity of the period."--BOOK JACKET.
|Author||: David Young Kim|
|Editor||: Yale University Press|
This important and innovative book examines artists' mobility as a critical aspect of Italian Renaissance art. It is well known that many eminent artists such as Cimabue, Giotto, Donatello, Lotto, Michelangelo, Raphael, and Titian traveled. This book is the first to consider the sixteenth-century literary descriptions of their journeys in relation to the larger Renaissance discourse concerning mobility, geography, the act of creation, and selfhood. David Young Kim carefully explores relevant themes in Giorgio Vasari's monumental Lives of the Artists, in particular how style was understood to register an artist's encounter with place. Through new readings of critical ideas, long-standing regional prejudices, and entire biographies, The Traveling Artist in the Italian Renaissance provides a groundbreaking case for the significance of mobility in the interpretation of art and the wider discipline of art history.
|Author||: Peter Burke|
In this brilliant and widely acclaimed work, Peter Burke presents a social and cultural history of the Italian Renaissance. He discusses the social and political institutions which existed in Italy during the fifteenth and sixteenth centuries and he analyses the ways of thinking and seeing which characterized this period of extraordinary artistic creativity. Developing a distinctive sociological approach, Peter Burke is concerned with not only the finished works of Michelangelo, Raphael, Leonardo da Vinci and others, but also with the social background, patterns of recruitment and means of subsistence of this "cultural elite." He thus makes a major contribution to our understanding of the Italian Renaissance, and to our comprehension of the complex relations between culture and society. Peter Burke has thoroughly revised and updated the text for this new edition. The book is richly illustrated throughout. It will have a wide appeal among historians, sociologists and anyone interested in one of the most creative periods of European history.
|Author||: Mary Hollingsworth|
|Editor||: Head of Zeus Ltd|
A beautifully illustrated history of the Renaissance told through the lives of its most important and influential patrons – the princely rulers of Italy's dynastic states and their families. From the late Middle Ages, the independent Italian city-states were taken over by powerful families who installed themselves as dynastic rulers. Inspired by the humanists, the princes of fifteenth- and sixteenth-century Italy immersed themselves in the culture of antiquity, commissioning palaces, villas and churches inspired by the architecture of ancient Rome, and offering patronage to artists and writers. Many of these princes were related by blood or marriage, creating a web of alliances that held society together but whose tensions sometimes threatened to tear it apart. Thus were their lives defined as much by the waging of war as the nurturing of artistic talent. Mary Hollingsworth charts these developments in a sequence of chronological chapters, each centred on two or three main characters with a cast of minor ones – from Ludovico Sforza of Milan to Isabella d'Este of Mantua, from Pope Paul III to Emperor Charles V, and from the painters Mantegna and Titian to the architect Sansovino and the polymath Leonardo da Vinci. Princes of the Renaissance is a vivid depiction of the lives and times of the élite whose power and patronage created the art and architecture of the Renaissance. In a narrative that is as rigorous and closely researched as it is accessible and informative, Mary Hollingsworth sets their aesthetic achievements in the context of the volatile, ever-shifting politics of a tumultuous period of history. PRAISE FOR MARY HOLLINGSWORTH: 'An excellent study of the Medici ... A careful, understated book that is never short on drama' Helen Castor on The Medici, a Telegraph Book of the Year 'A lucid and beautifully illustrated family history. In Hollingsworth's surefooted telling, this ruthless but enlightened family were at their best when they were true to the Florentine motto of 'profit and honour'' The Times on The Medici, selected for The Times Book of the Week
|Author||: Peter Mantin|
A study of the Renaissance, particularly in Florence, which skillfully integrates the themes of art, politics and science to provide pupils with a coherent picture of the period.
|Author||: Jennifer Cochran Anderson,Douglas N. Dow|
A team of specialists addresses a foundational concept as central to early modern thinking as to our own: that the past is always an important part of the present.