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The four volumes of Edward Garrison's Studies, published between 1953 and 1962, represented a landmark in the study of medieval Italian painting. They made available for the first time photographs of all miniatures of the region and period concerned - principally the former Papal States and Tuscany in the twelfth century - which the author was able to track down, along with a generous selection of ornamental initials from almost every decorated manuscript he examined. The contemporary wall-paintings and panels from these regions are also illustrated and discussed. They represent one of the most valuable sources of information about twelfth-century painting in existence, and everyone interested in European art of that period has at some time found himself gratefully using them. A serious attempt has been made to get all this material into order, and the general lines of development have been set out. Together with the author's two volumes already published in our Selected Studies Series (Early Italian Painting: Selected Studies, Vols. I & II) these four volumes make available the complete corpus of Edward Garrison's work on medieval Italian painting. The two principal studies are concerned with 'Twelfth-Century Initial Styles of Central Italy' (serialized here in eleven sections) and 'Twelfth-Century Umbro-Roman painting' (serialized in six sections). Most of the non-serialized items are studies of individual manuscripts, but one should note the presence here of Supplements IV-VI to Garrison's Italian Romanesque Panel-painting: an index (Nos. I-III are available in Early Italian Painting: Selected Studies. Vol. I). The reprinting of these four volumes should be particularly welcome to art-historians, since they were originally issued in fascicule form, and many art-historical libraries lack copies.
This volume offers unparalleled coverage of all aspects of art and architecture from medieval Western Europe, from the 6th century to the early 16th century. Drawing upon the expansive scholarship in the celebrated 'Grove Dictionary of Art' and adding hundreds of new entries, it offers students, researchers and the general public a reliable, up-to-date, and convenient resource covering this field of major importance in the development of Western history and international art and architecture.
Analyzing the literature on art from the fifteenth and sixteenth centuries, The Spiritual Language of Art explores the complex relationship between visual art and spiritual experiences during the Italian Renaissance. Though scholarly research on these writings has predominantly focused on the influence of classical literature, this study reveals that Renaissance authors consistently discussed art using terms, concepts and metaphors derived from spiritual literature. By examining these texts in the light of medieval sources, greater insight is gained on the spiritual nature of the artist’s process and the reception of art. Offering a close re-readings of many important writers (Alberti, Leonardo, Vasari, etc.), this study deepens our understanding of attitudes toward art and spirituality in the Italian Renaissance.
Accounts by early viewers -- Vasari's lives and other early art histories -- Patrons, commissions, and contracts -- Subject matter and Renaissance art theory -- Words and pictures: poetry, inscriptions, and meaning
A wildly entertaining and surprisingly educational dive into art history as you've never seen it before, from the host of the beloved ArtCurious podcast We're all familiar with the works of Claude Monet, thanks in no small part to the ubiquitous reproductions of his water lilies on umbrellas, handbags, scarves, and dorm-room posters. But did you also know that Monet and his cohort were trailblazing rebels whose works were originally deemed unbelievably ugly and vulgar? And while you probably know the tale of Vincent van Gogh's suicide, you may not be aware that there's pretty compelling evidence that the artist didn't die by his own hand but was accidentally killed--or even murdered. Or how about the fact that one of Andy Warhol's most enduring legacies involves Caroline Kennedy's moldy birthday cake and a collection of toenail clippings? ArtCurious is a colorful look at the world of art history, revealing some of the strangest, funniest, and most fascinating stories behind the world's great artists and masterpieces. Through these and other incredible, weird, and wonderful tales, ArtCurious presents an engaging look at why art history is, and continues to be, a riveting and relevant world to explore.
"Treasures of a Lost Art presents 144 leaves, cuttings, and illuminated manuscript fragments from the collection of Robert Lehman (1891-1969), one of the largest and most impressive private holdings of Italian manuscripts assembled after the First World War. Discussed here - with many of them handsomely illustrated in full color - are important examples of the major schools of illumination in southern Italy, Umbria, Tuscany, Emilia, Lombardy, and the Veneto. Previously unpublished, and perhaps even unknown to scholars, are works by some of the foremost Italian painters of the Middle Ages and Renaissance, including a leaf here attributed for the first time to the Sienese master Duccio di Buoninsegna and cuttings by Stefano da Verona and Cosimo Tura. Lesser-known arists, such as Neri da Rimini, Belbello da Pavia, and Girolamo da Cremona, once renowned for their beautifully illuminated volumes, are also discussed in full."--BOOK JACKET.
Joanna Cannon's scholarship and teaching have helped shape the historical study of thirteenth- and fourteenth-century Italian art; this essay collection by her former students is a tribute to her work.
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.