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'Art', declared Vasari in Lives of the Artists, has been reborn and reached perfection in our time'. Indeed the roster of great names in painting of the Cinquecento, which only begins with those of Leonardo, Michelangelo, and Raphael, appears to justify this grand claim. Professor Freedberg here discusses the individual painters and analyses the hallmarks of their work. He traces the classical style of the High Renaissance, the Mannerism that succeeded it, and the events, in North Italy especially, that resist stylistic categories. He has given order to this diversity, but at the same time has preserved the intense individuality of the works of art.
"Focuses primarliy on the social and historical context in which art was made and used"--Bibliographic essay (p. 326).
"Hand-painted illumination enlivened the burgeoning culture of the book in the Italian Renaissance, spanning the momentous shift from manuscript production to print. J. J. G. Alexander describes key illuminated manuscripts and printed books from the period and explores the social and material worlds in which they were produced. Renaissance humanism encouraged wealthy members of the laity to join the clergy as readers and book collectors. Illuminators responded to patrons' developing interest in classical motifs, and celebrated artists such as Mantegna and Perugino occasionally worked as illuminators. Italian illuminated books found patronage across Europe, their dispersion hastened by the French invasion of Italy at the end of the 15th century.--
After the death of Raphael in 1520, the next generation in Italy was to see the rise of the complex and refined sensibility summed up in the term "Mannerism." In this uniquely comprehensive guide to sixteenth-century Renaissance art, Linda Murray examines the manifold achievements of Italian artists and identifies the individual forms taken by artists in Northern Europe and in Spain, including Durer, Bruegel and El Greco.
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.
"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
Art and the cultured public - Documents on art and artists - Mid-century Venetian art criticism - Vasari - Art theory in the second half of the century - The Counter-Reformation - Artists, amateurs and collectors - On beauty.
El Greco, Ribera, Velázquez, Murillo--these are but a few of the great sixteenth- and seventeenth-century artists of Spain's golden age of painting. In this authoritative and handsome book, an enlarged, extended, and revised version of his Golden Age of Painting in Spain, eminent Spanish art scholar Jonathan Brown surveys the development of painting in Spain during this fascinating period. Focusing on the interaction between art and the socioeconomic and political conditions that prevailed in Spain's golden age, this book offers information about religious beliefs, social attitudes, the activities of patrons and collectors, and how these were absorbed and interpreted by painters. The author sets the history of Spanish paintings within a European context and explores Spain's contact with artistic centers in Italy and the Netherlands. He discusses not only Spanish artists but also such non-Spanish painters as Titian, Ruben, and Luca Giordano, who either worked in Spain or influenced other artists there. Brown also examines the collections of foreign paintings that Spanish noblemen and prelates assembled and how these collections affected the production of art and the social status of the Spanish artist. In this up-to-date and innovative analysis of two hundred years of Spanish painting, Brown describes a country that brilliantly transformed the artistic impulses it received from abroad to fit the needs of its own society.