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How photography served as both source and foil for the birth of impressionism From the first announcement in 1839 of the daguerreotype process at a joint meeting of the French Academy of Sciences and the Académie des Beaux-Arts, photography found itself suspended uneasily between science and the arts, a new technology that offered previously unimaginable possibilities for pictorial representation. While photography's capacity for naturalistic reproduction threatened one traditional function of painting, the camera's artificial eye could offer new models for looking at the world. In the work of pioneering photographers such as Gustave Le Gray, Eugène Cuvelier, Nadar, Atget and André-Adolphe-Eugène Disdéri, impressionist artists such as Manet, Corot, Monet, Pissarro and Degas found new ways of seeing. The key position that photography now occupies in contemporary art has encouraged a renewed interest in photography's historical relationship to the other visual arts. The Impressionists and Photographypursues this line of research. Luxuriously produced and lavishly illustrated, this volume reexamines the lively debate that photography's emergence generated among critics and artists, and offers a critical reflection on the affinities and mutual influences between photography and painting in France in the second half of the 19th century.
Drawings by the great Italian Mannerist painter and poet Agnolo Bronzino (1503-1572) are extremely rare. This important and beautiful publication brings together for the first time nearly all of the sixty drawings attributed to this leading draftsman of the 16th century. Each drawing is illustrated in color, discussed in detail, and shown with many comparative photographs. Bronzino's technical virtuosity as a draftsman and his mastery of anatomy and perspective are vividly apparent in each stroke of the chalk, pen, or brush. The younger generations of Florentine artists particularly admired Bronzino for his technical virtuosity as a painter, and Giorgio Vasari praised him for his powers as a disegnatore (designer and draftsman).
This catalogue traces the career of Agnolo di Cosimo known as Bronzino, a protagonist of sixteenth-century Florentine culture. It charts his life from his apprenticeship in the workshop of Jacopo da Pontormo and sojourn in the Marche region to his career
The ducal court of Cosimo I de' Medici in sixteenth-century Florence was one of absolutist, rule-bound order. Portraiture especially served the dynastic pretensions of the absolutist ruler, Duke Cosimo and his consort, Eleonora di Toledo, and was part of a Herculean programme of propaganda to establish legitimacy and prestige for the new sixteenth-century Florentine court. In this engaging and original study, Gabrielle Langdon analyses selected portraits of women by Jacopo Pontormo, Agnolo Bronzino, Alessandro Allori, and other masters. She defines their function as works of art, as dynastic declarations, and as encoded documents of court culture and propaganda, illuminating Cosimo's conscious fashioning of his court portraiture in imitation of the great courts of Europe. Langdon explores the use of portraiture as a vehicle to express Medici political policy, such as with Cosimo's Hapsburg and Papal alliances in his bid to be made Grand Duke with hegemony over rival Italian princes. Stories from archives, letters, diaries, chronicles, and secret ambassadorial briefs, open up a world of fascinating, personalities, personal triumphs, human frailty, rumour, intrigue, and appalling tragedies. Lavishly illustrated, Medici Women: Portraits of Power, Love and Betrayal in the Court of Duke Cosimo I is an indispensable work for anyone with a passion for Italian renaissance history, art, and court culture.
The Florentine artist Agnolo Bronzino (1503–1572) has long been celebrated as the consummate court painter and his sumptuous portrayals of Duke Cosimo de’ Medici and Duchess Eleonora de Toledo have become icons of Italian Renaissance art. In this volume, an international assembly of scholars advances modern perceptions of Bronzino’s art by applying fresh research paradigms not only to the well-known portraits, but also to other painted subjects, frescoes, and tapestries within the context of ancient Roman precedents, Renaissance European court culture, and postmodernist theory. The seven essays supplement two recent Bronzino exhibitions in New York and Florence (2010) by addressing Bronzino’s portraiture, creative process, and tapestry production as well as past and present attitudes towards nudity, sexuality, landscapes, and poetic satire in Bronzino’s imagery.
The first definitive biography of the master painter in more than a century, Titian: His Life is being hailed as a "landmark achievement" for critically acclaimed author Sheila Hale (Publishers Weekly). Brilliant in its interpretation of the 16th-century master's paintings, this monumental biography of Titian draws on contemporary accounts and recent art historical research and scholarship, some of it previously unpublished, providing an unparalleled portrait of the artist, as well as a fascinating rendering of Venice as a center of culture, commerce, and power. Sheila Hale's Titian is destined to be this century's authoritative text on the life of greatest painter of the Italian High Renaissance.
Pontormo's Halberdier has long been controversial. How did scholars come to identify the sitter as Duke Cosimo de' Medici and why is this open to doubt? Who was Francesco Guardi? What was the siege of Florence, and could Pontormo have made this compelling portrait during that time of deprivation and political tumult? In a fascinating piece of historical detective work, Elizabeth Cropper investigates these questions and uncovers new evidence for interpretation. She also analyzes the portrait's relationship to other works by Pontormo, explores the importance for Pontormo of Donatello, Michelangelo, and Andrea del Sarto, and looks into Bronzino's connection with the portrait.
Jacopo Carucci, known as Pontormo (1494–1557), was the leading painter in mid sixteenth-century Florence and one of the most original and extraordinary Mannerist artists. His extremely personal style was much influenced by Michelangelo, though he also drew from northern art, especially the work of Albrecht Dürer. This catalogue brings together a small but important group of preparatory drawings and finished paintings that center on Pontormo’s great masterpiece, The Visitation, one of the most moving and mesmerizing works by the artist. The Visitation represents the intense moment of encounter between the Virgin Mary and her cousin Elizabeth, who reveal to each other that both are pregnant. The painting is presented—for the first time—along with its highly finished preparatory drawing, which is squared for transfer to the larger surface of the panel. The combination of rigorous research and gorgeous reproductions reveals the painter’s creative process as never before. Other acclaimed paintings, including Portrait of a Halberdier and Portrait of Carlo Neroni, will also be shown alongside their preparatory drawings. Readers will encounter Pontormo both as a religious painter and a painter of portraits, in this original and nuanced account of the celebrated artist.
In this volume, Rebekah Compton offers the first survey of Venus in the art, culture, and governance of Florence from 1300 to 1600. Organized chronologically, each of the six chapters investigates one of the goddess's alluring attributes – her golden splendor, rosy-hued complexion, enchanting fashions, green gardens, erotic anatomy, and gifts from the sea. By examining these attributes in the context of the visual arts, Compton uncovers an array of materials and techniques employed by artists, patrons, rulers, and lovers to manifest Venusian virtues. Her book explores technical art history in the context of love's protean iconography, showing how different discourses and disciplines can interact in the creation and reception of art. Venus and the Arts of Love in Renaissance Florence offers new insights on sight, seduction, and desire, as well as concepts of gender, sexuality, and viewership from both male and female perspectives in the early modern era.
"Pilliod compares information from documents she has discovered with Vasari's versions of the artists' lives and shows how Vasari manipulated their biographies - for example, suppressing any mention of Pontormo's status as a court artist, including his salary from Duke Cosimo I - in order to diminish their reputations, to obliterate memory of the traditional Florentine workshops, and to enhance the importance of the Academy instead. She also discusses such subjects as the evidence for Pontormo's association with the Medici court; Pontormo's house and its place in the urban fabric of Florence; Bronzino's and Pontormo's intimate association with poets and theatrical spectacles; and Allori's painted challenge to Vasari's view of the artistic scene in sixteenth-century Florence.