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"Rich and engaging. This account of Florentine art tells the story of who commissioned these works, who made them, where they were seen, and how they were experienced and understood by their viewers. Includes a useful timeline, glossary, and series of artists' biographies."--Patricia L. Reilly, Swarthmore College "An extraordinarily useful book, not only for teachers, but also for historically minded travelers interested in an illustrated guide to the art of Renaissance Florence."--Evelyn Lincoln, Brown University "Clear and compelling. The well-chosen illustrations include ground plans and diagrams of key architectural monuments and sculpture. The updated, judicious bibliography is a resource for anyone tackling the vast scholarship on the art of Renaissance Florence."--Cristelle Baskins, editor of The Triumph of Marriage: Painted Cassoni of the Renaissance
"A comprehensive and richly illustrated survey of Venetian Renaissance architecture, sculpture, and painting created between 1400 and 1600 addressed to students, travellers, and the general public. The works of art are analysed within Venice's cultural circumstances--political, economic, intellectual, and religious--and in terms of function, style, iconography, patronage, classical sources, gender, art theories, and artist's innovations, rivalries, and social status. The text has been divided into two parts--the fifteenth century and the sixteenth century--each part preceded by an introduction that recounts the history of Venice to 1500 and to 1600 respectively, including the city's founding, ideology, territorial expansion, social classes, governmental structure, economy, and religion. The twenty-six chapters have been organized to lead readers systematically through the major artistic developments within the three principal categories of art--governmental, ecclesiastic, and domestic--and have been arranged sequentially as follows: civic architecture and urbanism, churches, church decoration (ducal tombs and altarpieces), refectories and refectory decoration (section two only), confraternities (architecture and decoration), palaces, palace decoration (devotional works, portraits, secular painting, and halls of state), villas, and villa decoration. The conclusion offers an overview of the major types of Venetian art and architectural patronage and their funding sources"--Provided by publisher.
Florence is justly named the 'cradle of the renaissance'. It was here that, inspired by the revival of interest in classical antiquity, fuelled by civic pride and fostered by the wealthy Medici family, a visual language was created that was to be spoken
Shopping was as important in the Renaissance as it is in the 21st century. This book breaks new ground in the area of Renaissance material culture, focussing on the marketplace in its various aspects, ranging from middle-class to courtly consumption and from the provision of foodstuffs to the acquisition of antiquities and holy relics. It asks how men and women of different social classes went out into the streets, squares and shops to buy the goods they needed and wanted on a daily or on a once-in-a-lifetime basis during the Renaissance period. Drawing on a detailed mixture of archival, literary and visual sources, she exposes the fears, anxieties and social possibilities of the Renaissance marketplace. Thereafter, Welch looks at the impact these attitudes had on the developing urban spaces of Renaissance cities, before turning to more transient forms of sales such as fairs, auctions and lotteries. In the third section, she examines the consumers themselves, asking how the mental, verbal and visual images of the market shaped the business of buying and selling. Finally, the book explores two seemingly very different types of commodities - antiquities and indulgences, both of which posed dramatic challenges to contemporary notions of market value and to the concept of commodification itself.
In this vivid account Scott Nethersole examines the remarkable period of cultural, artistic, and intellectual blossoming in Florence from 1400 to 1520—the period traditionally known as the Early and High Renaissance. He looks at the city and its art with fresh eyes, presenting the well-known within a wider context of cultural reference. Key works of art—from painting, sculpture, and architecture to illuminated manuscripts—by artists such as Michelangelo, Donatello, Botticelli, and Brunelleschi are showcased alongside the unexpected and less familiar.
Works in the Museum's collection that embody the Renaissance interest in classical learning, fame, and beautiful objects are illustrated and discussed in this resource and will help educators introduce the richness and diversity of Renaissance art to their students. Primary source texts explore the great cities and powerful personalities of the age. By studying gesture and narrative, students can work as Renaissance artists did when they created paintings and drawings. Learning about perspective, students explore the era's interest in science and mathematics. Through projects based on poetic forms of the time, students write about their responses to art. The activities and lesson plans are designed for a variety of classroom needs and can be adapted to a specific curriculum as well as used for independent study. The resource also includes a bibliography and glossary.
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.
This study is the first to examine the relationship between art and violence in 15th-century Florence, exposing the underbelly of a period more often celebrated for enlightened and progressive ideas. Renaissance Florentines were constantly subjected to the sight of violence, whether in carefully staged rituals of execution or images of the suffering inflicted on Christ. There was nothing new in this culture of pain, unlike the aesthetic of violence that developed towards the end of the 15th century. It emerged in the work of artists such as Piero di Cosimo, Bertoldo di Giovanni, Antonio del Pollaiuolo, and the young Michelangelo. Inspired by the art of antiquity, they painted, engraved, and sculpted images of deadly battles, ultimately normalizing representations of brutal violence. Drawing on work in social and literary history, as well as art history, Scott Nethersole sheds light on the relationship between these Renaissance images, violence, and ideas of artistic invention and authorship.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.