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Franklin's unprecedented examination of Vasari's work as a painter in relation to his vastly better-known writings fully illuminates these dual strands in Florentine art and offers us a clearer understanding of sixteenth-century painting in Florence than ever before." "The volume focuses on twelve painters: Perugino, Leonardo de Vinci, Piero di Cosimo, Michelangelo, Fra Bartolomeo, Ridolfo Ghirlandaio, Andrea del Sarto, Franciabigio, Rosso Fiorentino, Jacopo da Pontormo, Francesco Salviati and Giorgio Vasari."--BOOK JACKET.
"John Gage's Color and Meaning is full of ideas. . .He is one of the best writers on art now alive."--A. S. Byatt, Booker Prize winner
To whom should we ascribe the great flowering of the arts in Renaissance Italy? Artists like Botticelli and Michelangelo? Or wealthy, discerning patrons like Cosimo de' Medici? In recent years, scholars have attributed great importance to the role played by patrons, arguing that some should even be regarded as artists in their own right. This approach receives sharp challenge in Jill Burke's Changing Patrons, a book that draws heavily upon the author's discoveries in Florentine archives, tracing the many profound transformations in patrons' relations to the visual world of fifteenth-century Florence. Looking closely at two of the city's upwardly mobile families, Burke demonstrates that they approached the visual arts from within a grid of social, political, and religious concerns. Art for them often served as a mediator of social difference and a potent means of signifying status and identity. Changing Patrons combines visual analysis with history and anthropology to propose new interpretations of the art created by, among others, Botticelli, Filippino Lippi, and Raphael. Genuinely interdisciplinary, the book also casts light on broad issues of identity, power relations, and the visual arts in Florence, the cradle of the Renaissance.
This is a catalogue of drawings from the British Museums collection and adds to the previously published catalogues of Italian drawings. The Catalogue covers the period form the High Renascence through Early, High and Late Mannerism to the Early Baroque.
02 This innovative book presents a fresh view of fifteenth-century Netherlandish art and the significance of its contributions to contemporary Italian art, notably in such areas as oil painting, landscape, and portraiture. Focusing on Florence, a prime center of Renaissance culture, the book explores for the first time the profound impact of Netherlandish works on Italian painters including Leonardo, Perugino, and Ghirlandaio.Paula Nuttall discusses Italian ownership of Netherlandish paintings in the fifteenth century and the shared artistic concerns of Florentine and Netherlandish painters. She examines in depth the various means by which artistic contact occurred, the growth in demand for Netherlandish art in Florence, and the holdings of the Medici and other collectors. With particular emphasis on the period 1460–1500, when the vogue for Netherlandish painting was at its height, the author shows that the consequences of Italian exposure to Netherlandish art were far more sweeping than has been understood before.Paula Nuttall is an independent scholar. She teaches at the Victoria and Albert Museum in London and at other U.K. institutions. She is a specialist on relationships between Netherlandish painting and Italy and has published widely in this area. This innovative book presents a fresh view of fifteenth-century Netherlandish art and the significance of its contributions to contemporary Italian art, notably in such areas as oil painting, landscape, and portraiture. Focusing on Florence, a prime center of Renaissance culture, the book explores for the first time the profound impact of Netherlandish works on Italian painters including Leonardo, Perugino, and Ghirlandaio.Paula Nuttall discusses Italian ownership of Netherlandish paintings in the fifteenth century and the shared artistic concerns of Florentine and Netherlandish painters. She examines in depth the various means by which artistic contact occurred, the growth in demand for Netherlandish art in Florence, and the holdings of the Medici and other collectors. With particular emphasis on the period 1460–1500, when the vogue for Netherlandish painting was at its height, the author shows that the consequences of Italian exposure to Netherlandish art were far more sweeping than has been understood before.Paula Nuttall is an independent scholar. She teaches at the Victoria and Albert Museum in London and at other U.K. institutions. She is a specialist on relationships between Netherlandish painting and Italy and has published widely in this area.