Download Free Colnaghis Dictionary Of Florentine Painters Book in PDF and EPUB Free Download. You can read online Colnaghis Dictionary Of Florentine Painters and write the review.

Vol. 1: Life Giotto (1334) is the first European artist about whom it is possible to write following the schema of "life and work". The situation of the sources, however, is complicated: On Giotto's life, there are – on the one hand – biographical accounts from the mid-fourteenth century onwards that responded to various ideological requirements (patriotism, humanism, Renaissance ideology, cult of the artist); on the other, there is extensive documentary material from Giotto's lifetime, which seems to reflect less the biography of an artist than that of a bourgeois businessman resolutely climbing the social ladder. The present volume focuses on this second aspect of the Giotto figure's double life relating it to the form of existence of the pre-modern artist. Vol. 2: Works The paintings examined and contextualised in this volume are those secured for Giotto through early written sources. These sources also help to reconstruct the sequence of his works and artistic inventions as is plausible in the context of media culture in the decades around and after 1300: while Giotto was spiritually and intellectually formed in the sphere of the Florentine Dominicans, his artistic path began in Rome in the shadow of the Curia. The breakthrough to his own artistic concept came immediately before and during his work in Padua. In addition to prominent churchmen, ecclesiastical institutions, and the King of Naples, his clients were predominantly members of Italy's urban and financial elites. The adoption and further development of his inventions by other - especially Sienese - painters pressured him in his later years to try new approaches again. Vol. 3: Survival Giotto is considered by many to be the founder of modern painting. This thesis is discussed and modified in the present volume on an empirical basis. What emerges is that Giotto's impact cannot be reduced simply to the introduction of the study of nature. Rather, his art was involved in the development of pictorial idioms that were attuned to the skills and interests of their audiences. The new approaches in his painting contributed in particular to the possibility of examining and communicating psychological, narrative and allegorical content of great complexity outside the media of language and text, which not only changed the face of European art but certainly contributed to the intellectual opening of Western societies.
Widely admired for his paintings of exquisitely beautiful Madonnas, Florentine Renaissance friar-artist Fra Filippo Lippi (c. 1406-69) gained renown also for his love affair with the nun Lucrezia who bore their son, Filippino Lippi, later a well-known painter himself. In this beautiful and compelling book, Megan Holmes shines new light on Lippi's life and career, from the first paintings he created while a friar in Santa Maria del Carmine to the later works he painted when living outside the monastery for the Medici family, their supporters, and other patrons. Focusing especially on the fascinating conjunction of Lippi's work as a painter and his experiences as a Carmelite friar, Holmes transforms our understanding of Filippo Lippi and of the way art was produced and viewed in fifteenth-century Florence. Unlike most monastic artists, Fra Filippo learned to paint only after joining a religious order. In the first section of the book, the author considers how the doctrines, rules, rituals, and practices of the Carmelites shaped Lippi's art and manner of envisioning sacred subjects. In the second section, Holmes discusses Lippi's life and painting after he left the monastery, demonstrating how his mature work broke new ground but continued to draw upon Carmelite influences. The final section of the book looks closely at three altarpieces Fra Filippo painted for monastic institutions and sets them in a broader social and religious context.
In this book, which was originally published in 2005, Amanda Lillie challenges the urban bias in Renaissance art and architectural history by investigating the architecture and patronage strategies, particularly those of the Strozzi and the Sassetti clans, in the Florentine countryside during the fifteenth century. Based entirely on archival material that remained unpublished at the time of publication, her book examines a number of villas from this period and reconstructs the value systems that emerge from these sources, which defy the traditional, idealized interpretation of the 'renaissance villa'. Here, the house is studied in relation to the families who lived in them and to the land that surrounded them. The villa emerges as a functional, utilitarian farming unit upon whose success families depended, and where dynastic and patrimonial values could be nurtured.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974.
Giotto (1334) is the first European artist about whom it is possible to write following the schema of "life and work". The situation of the sources, however, is complicated: On Giotto's life, there are – on the one hand – biographical accounts from the mid-fourteenth century onwards that responded to various ideological requirements (patriotism, humanism, Renaissance ideology, cult of the artist); on the other, there is extensive documentary material from Giotto's lifetime, which seems to reflect less the biography of an artist than that of a bourgeois businessman resolutely climbing the social ladder. The present volume focuses on this second aspect of the Giotto figure's double life relating it to the form of existence of the pre-modern artist.