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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.
All roads lead to Rome--and no one captures the journey in luminous watercolors quite as brillantly as Marlene McLoughlin. Leafing through Road to Rome is like relaxing on a slow train through Italy, with an artist at your side. By means of her watercolor sketchbooks, readers travel from Florence to Rome, and to the legendary hill towns of Arezzo, Siena, Montepulciano, Assisi, Todi, and Cortona, through breathtaking landscapes, unearthly light, and the rustic beauty of the Tuscan and Umbrian countryside. Exquisite watercolors, pen-and-ink sketches, and brief captions depict the land, the food, and the character of one of the most beautiful places on earth in all of its varied details--a shadowy, overgrown Renaissance villa, yellow fields of mustard, a dish of ripe lemons; the Tiber at dawn. Richly evocative, wonderfully inviting, and thoroughly charming. Road to Rome is both a traveler's and a dreamer's delight.
"Focuses primarliy on the social and historical context in which art was made and used"--Bibliographic essay (p. 326).
"From 1501 to 1505, Leonardo da Vinci and Michelangelo Buonarroti both lived and worked in Florence. Leonardo was a charming, handsome fifty year-old at the peak of his career. Michelangelo was a temperamental sculptor in his mid-twenties, desperate to make a name for himself. The two despise each other."--Front jacket flap.
American Artists have been inspired by Italy since the 1760s, when Benjamin West, the first American painter to travel there, was drawn to the ancient Roman ruins and magnificent Renaissance architecture, statuary, and frescoes. This intriguing, superbly illustrated book is the first to explore the fascination Italy held for the American artist from West's time to the eve of World War I. The unique sense of the past found in Italy, where tangible evidence exists of a continual civilization from antiquity to the present, lured countless American artists to its cities, towns, and countryside. Painters from West and Copley in the eighteenth century to Cole, Inness, Whistler, Sargent, and Prendergast in the nineteenth century were inspired to create many of their finest works in Italy, as were American sculptors such as Hiram Powers and Harriet Hosmer and writers from Washington Irving to Henry James. This in-depth study includes 319 illustrations, of which 113 are reproduced in full color, many of works that have not previously been published. Theodore E. Stebbins, Jr., John Moors Cabot Curator of American Paintings at the Museum of Fine Arts, Boston, and Professor of Art History at Boston University, provides a broad overview of the American perception of Italy and the unique role that Italy played in the formation of American art. Further insights into this new area in the study and appreciation of American art are offered in four essays by such leading art historians as William H. Gerdts, City University of New York; Erica E. Hirshler, Museum of Fine Arts, Boston; Fred S. Licht, Peggy Guggenheim Museum, Venice, and Boston University; and William L. Vance, Boston University. Individual commentaries on each of the paintings, sculpture, and watercolors have been written by the curatorial staff of the Museum of Fine Arts, Boston. The Lure of Italy accompanies a major exhibition of the same name, organized by Theodore E. Stebbins, Jr., and Erica E. Hirshler that opens at the Museum of Fine Arts, Boston, and travels to the Cleveland Museum of Art and the Museum of Fine Arts, Houston.
An introduction to 15th century Italian painting and the social history behind it, arguing that the two are interlinked and that the conditions of the time helped fashion distinctive elements in the painter's style.
Another Fabulous Art History Thriller by the Bestselling Author of Oil and Marble, Featuring the Master of Renaissance Perfection: Raphael! Michelangelo’s Sistine Chapel ceiling is one of the most iconic masterpieces of the Renaissance. Here, in Raphael, Painter in Rome, Storey tells of its creation as never before: through the eyes of Michelangelo’s fiercest rival—the young, beautiful, brilliant painter of perfection, Raphael. Orphaned at age eleven, Raphael is determined to keep the deathbed promise he made to his father: become the greatest artist in history. But to be the best, he must beat the best, the legendary sculptor of the David, Michelangelo Buonarroti. When Pope Julius II calls both artists down to Rome, they are pitted against each other: Michelangelo painting the Sistine Ceiling, while Raphael decorates the pope's private apartments. As Raphael strives toward perfection in paint, he battles internal demons: his desperate ambition, crippling fear of imperfection, and unshakable loneliness. Along the way, he conspires with cardinals, scrambles through the ruins of ancient Rome, and falls in love with a baker’s-daughter-turned-prostitute who becomes his muse. With its gorgeous writing, rich settings, endearing characters, and riveting plot, Raphael, Painter in Rome brings to vivid life these two Renaissance masters going head to head in the deadly halls of the Vatican.
In ten chapters spanning two centuries, this collection of essays examines the relationships between women artists and their publics, both in early modern Italy as well as across Europe. Drawing upon archival evidence, these essays afford abundant documentary evidence about the diverse strategies that women utilized in order to carry out artistic careers, from Sofonisba Anguissola's role as a lady-in-waiting at the court of Philip II of Spain, to Lucrezia Quistelli's avoidance of the Florentine market in favor of upholding the prestige of her family, to Costanza Francini's preference for the steady but humble work of candle painting for a Florentine confraternity. Their unusual life stories along with their outstanding talents brought fame to a number of women artists even in their own lifetimes - so much fame, in fact, that Giorgio Vasari included several women artists in his 1568 edition of artists' biographies. Notably, this visibility also subjected women artists to moral scrutiny, with consequences for their patronage opportunities. Because of their fame and their extraordinary (and often exemplary) lives, works made by women artists held a special allure for early generations of Italian collectors, including Grand Duke Cosimo III de' Medici, who made a point of collecting women's self-portraits. In the eighteenth century, British collectors wishing to model themselves after the Italian virtuosi exhibited an undeniable penchant for the Italian women artists of a bygone era, even though they largely ignored the contemporary women artists in their midst.
Known as the "century of anatomy," the 16th century in Italy saw an explosion of studies and treatises on the discipline. Medical science advanced at an unprecedented rate, and physicians published on anatomy as never before. Simultaneously, many of the period's most prominent artists--including Leonardo and Michelangelo in Florence, Raphael in Rome, and Rubens working in Italy--turned to the study of anatomy to inform their own drawings and sculptures, some by working directly with anatomists and helping to illustrate their discoveries. The result was a rich corpus of art objects detailing the workings of the human body with an accuracy never before attained. "Art and Anatomy in Renaissance Italy "examines this crossroads between art and science, showing how the attempt to depict bone structure, musculature, and our inner workings--both in drawings and in three dimensions--constituted an important step forward in how the body was represented in art. While already remarkable at the time of their original publication, the anatomical drawings by 16th-century masters have even foreshadowed developments in anatomic studies in modern times.