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The city of Siena, one of Italy's major artistic centers, was home to many celebrated painters, among them Duccio, Simone Martini, Ambrogio and Pietro Lorenzetti, Sassetta and Beccafumi. This generously illustrated book provides a survey of Sienese painting from 1260 to 1555, an era of extraordinary artistic creativity in the Tuscan city. Art historian Diana Norman addresses the style and artistic technique of Sienese painters throughout the three centuries and explores why paintings were made, where they were originally seen, and how they were used and enjoyed by their audiences. The book focuses on works of art made for Siena itself, many of which are still to be seen within the city. Norman organizes the discussion around types of commissions and throughout the book situates the paintings within the context of the political, social, and religious circumstances of late medieval and renaissance Siena.
The art of Renaissance Siena is usually viewed in the light of developments and accomplishments achieved elsewhere, but Sienese artists were part of a dynamic dialogue that was shaped by their city’s internal political turmoil, diplomatic relationships with its neighbors, internal social hierarchies, and struggle for self-definition. These essays lead scholars in a new and exciting direction in the study of the art of Renaissance Siena, exploring the cultural dynamics of the city and its art in a specifically Sienese context. This volume shapes a new understanding of Sienese culture in the early modern period and defines the questions scholars will continue to ask for years to come. What emerges is a picture of Renaissance Siena as a city focused on meeting the challenges of the time while formulating changes to shape its future. Central to these changes are the city’s efforts to fashion a civic identity through the visual arts.
The art of Renaissance Siena is usually viewed in the light of developments and accomplishments achieved elsewhere, but Sienese artists were part of a dynamic dialogue that was shaped by their city’s internal political turmoil, diplomatic relationships with its neighbors, internal social hierarchies, and struggle for self-definition. These essays lead scholars in a new and exciting direction in the study of the art of Renaissance Siena, exploring the cultural dynamics of the city and its art in a specifically Sienese context. This volume shapes a new understanding of Sienese culture in the early modern period and defines the questions scholars will continue to ask for years to come. What emerges is a picture of Renaissance Siena as a city focused on meeting the challenges of the time while formulating changes to shape its future. Central to these changes are the city’s efforts to fashion a civic identity through the visual arts.
In Art as Politics in Late Medieval and Renaissance Siena, contributors explore the evolving relationship between image and politics in Siena from the time of the city-state's defeat of Florence at the Battle of Montaperti in 1260 to the end of the Sienese Republic in 1550. Engaging issues of the politicization of art in Sienese painting, sculpture, architecture, and urban design, the volume challenges the still-prevalent myth of Siena's cultural and artistic conservatism after the mid fourteenth century. Clearly establishing uniquely Sienese artistic agendas and vocabulary, these essays broaden our understanding of the intersection of art, politics, and religion in Siena by revisiting its medieval origins and exploring its continuing role in the Renaissance.
Catalog of an exhibition which opened at The Metropolitan Museum of Art on Dec. 20, 1988. This first comprehensive study in English devoted to Sienese painting to be published in four decades centers on the fifteenth century, a fascinating but frequently neglected period when Sienese artists confronted the innovations of Renaissance painting in Florence. Two introductory essays survey fifteenth-century Sienese painting, and individual entries examine 139 key works in exhaustive detail, presenting new insights into long-debated issues of interpretation and attribution, and often utilizing previously unpublished material. Most of the major paintings are reproduced in color and supplemented with illustrations of related comparative works.
Published in conjunction with the exhibition organized by the Yale University Art Gallery, Yale University Art Gallery, September 27, 2013-January 5, 2014.
A History of Siena provides a concise and up-to-date biography of the city, from its ancient and medieval development up to the present day, and makes Siena’s history, culture, and traditions accessible to anyone studying or visiting the city. Well informed by archival research and recent scholarship on medieval Siena and the Italian city-states, this book places Siena’s development in its larger context, both temporally and geographically. In the process, this book offers new interpretations of Siena’s artistic, political, and economic development, highlighting in particular the role of pilgrimage, banking, and class conflict. The second half of the book provides an important analysis of the historical development of Siena’s nobility, its unique system of neighborhood associations (contrade) and the race of the Palio, as well as an overview of the rise and fall of Siena’s troubled bank, the Monte dei Paschi. This book is accessible to undergraduates and tourists, while also offering plenty of new insights for graduate students and scholars of all periods of Sienese history.
"When the city was filled with these bonfires, he then combed the city, and whenever he received notice of some public sodomite, he had him immediately seized and thrown into the nearest bonfire at hand and had him burned immediately." This story, of an anonymous individual who sought to cleanse medieval Paris, was part of a sermon delivered in Siena, Italy, in 1427. The speaker, the friar Bernardino (1380-1444), was one of the most important public figures of the time, and he spent forty years combing the towns of Italy, instructing, admonishing, and entertaining the crowds that gathered in prodigious numbers to hear his sermons. His story of the Parisian vigilante was a recommendation. Sexual deviants were the objects of relentless, unconditional persecution in Bernardino's sermons. Other targets of the preacher's venom were witches, Jews, and heretics. Mormando takes us into the social underworld of early Renaissance Italy to discover how one enormously influential figure helped to dramatically increase fear, hatred, and intolerance for those on society's margins. This book is the first on Bernardino to appear in thirty-five years, and the first ever to consider the preacher's inflammatory role in Renaissance social issues.
Weaving together social, political, economic and architectural history, this book explores the role of key patrons in Siena's urban projects, including Pope Pius II Piccolomini and his family, and the quasi-despot Pandolfo Petrucci.
Did ordinary Italians have a 'Renaissance'? This book presents the first in-depth exploration of how artisans and small local traders experienced the material and cultural Renaissance. Drawing on a rich blend of sixteenthcentury visual and archival evidence, it examines how individuals and families at artisanal levels (such as shoemakers, barbers, bakers and innkeepers) lived and worked, managed their household economies and consumption, socialised in their homes, and engaged with the arts and the markets for luxury goods. It demonstrates that although the economic and social status of local craftsmen and traders was relatively low, their material possessions show how these men and women who rarely make it into the history books were fully engaged with contemporary culture, cultural customs and the urban way of life.