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A quartet of essays on great European cities from the groundbreaking thinker Georg Simmel These brilliant essays, from one of Germany's greatest and most influential thinkers, are beautifully written and highly readable portraits of three Italian cities: Rome, Venice and Florence. Simmel saw the city as a work of art in itself, and taken together these pieces act as a powerful suite expounding that notion. A seminal work of psycho-geography, this collection has never been published together in English before.
A quartet of essays on great European cities from the groundbreaking thinker Georg Simmel These brilliant essays, from one of Germany's greatest and most influential thinkers, are beautifully written and highly readable portraits of three Italian cities: Rome, Venice and Florence. Simmel saw the city as a work of art in itself, and taken together these pieces act as a powerful suite expounding that notion. A seminal work of psycho-geography, this collection has never been published together in English before.
A luxurious and definitive exploration of how and why the Renaissance flourished in Italy for two centuries. The idea of “renaissance,” or rebirth, arose in Italy as a way of reviving the art, science, and scholarship of the Classical era. It was also powered by a quest to document artistic “reality” according to newly discovered scientific and mathematical principles. By the late 15th century, Italy had become the recognized European leader in the fields of painting, architecture, and sculpture. But why was Florence the center of this burgeoning creativity, and how did it spread to other Italian cities? Brimming with vivid reproductions of works by Leonardo, Michelangelo, Botticelli, Raphael, Titian, and others, this book showcases the creative achievements that traveled from Florence to Rome to Venice. Art historian Norbert Wolf explores the influence of secular and religious patronage on artistic development; how the urban structure and way of life allowed for such a rich exchange of ideas; and how ideas of humanism informed artists reaching toward the future while clinging to the ideals of the past. Insightful, accessible, and fascinating, this thoroughly researched book highlights the connections and mutual influences of Florence, Rome, and Venice as well as their intriguing rivalries and interdependencies.
Considering the reception of the early modern culture of Florence, Rome, and Venice in other centers of the Italic peninsula, this book reexamines the Renaissance as a form of translation of a past culture. It assumes that the Renaissance attempted to assimilate the lost, or fragmentary, worlds of the Roman emperors, the Greek Platonists, and the ancient Egyptians. These essays, accordingly, explore how the processes of cultural self-definition varied between the Italian urban centers in the early modern period, well before the formation of a distinct Italian national identity.
Inscriptions, medals, and travelers' accounts, on more learned humanist and antiquarian writings, and, most importantly, on the art of the period, Brown explores Venice's evolving sense of the past. She begins with the late middle ages, when Venice sought to invent a dignified civic past by means of object, image, and text. Moving on to the fourteenth and fifteenth centuries, she discusses the collecting and recording of antiquities and the incorporation of Roman forms.
"A comprehensive and richly illustrated survey of Venetian Renaissance architecture, sculpture, and painting created between 1400 and 1600 addressed to students, travellers, and the general public. The works of art are analysed within Venice's cultural circumstances--political, economic, intellectual, and religious--and in terms of function, style, iconography, patronage, classical sources, gender, art theories, and artist's innovations, rivalries, and social status. The text has been divided into two parts--the fifteenth century and the sixteenth century--each part preceded by an introduction that recounts the history of Venice to 1500 and to 1600 respectively, including the city's founding, ideology, territorial expansion, social classes, governmental structure, economy, and religion. The twenty-six chapters have been organized to lead readers systematically through the major artistic developments within the three principal categories of art--governmental, ecclesiastic, and domestic--and have been arranged sequentially as follows: civic architecture and urbanism, churches, church decoration (ducal tombs and altarpieces), refectories and refectory decoration (section two only), confraternities (architecture and decoration), palaces, palace decoration (devotional works, portraits, secular painting, and halls of state), villas, and villa decoration. The conclusion offers an overview of the major types of Venetian art and architectural patronage and their funding sources"--Provided by publisher.
A journey through the glorious Italian city’s scenery, history, and culture, from the New York Times–bestselling author of Venice Observed and The Group. Mary McCarthy’s classic celebrates the Italian city often looked upon as the provincial sister to the better-dressed, more “feminine” Venice. To McCarthy, Florence, or Firenze, is a place of ageless enchantment, from the Duomo to the fortressed palaces. The Renaissance began here; art and architecture flourished. From its roots as a center of medieval trade to its transformation into one of the world’s wealthiest cities, McCarthy charts Florence’s rich and turbulent history. She introduces a cast of towering real-life characters. Through her probing writer’s lens, the poetry of Dante and the magnificent artistry of Raphael and Botticelli come vibrantly alive. Along this illuminating journey, McCarthy offers fascinating bits of trivia: There are no ruins in Florence because the Florentines aren’t sentimental about their past; America took its name from a Florentine traveler named Amerigo Vespucci. From Michelangelo to the Medicis to the story behind a statue’s missing head, The Stones of Florence is Mary McCarthy’s hymn to this unique city. This ebook features an illustrated biography of Mary McCarthy including rare images from the author’s estate.
In this vivid account Scott Nethersole examines the remarkable period of cultural, artistic, and intellectual blossoming in Florence from 1400 to 1520—the period traditionally known as the Early and High Renaissance. He looks at the city and its art with fresh eyes, presenting the well-known within a wider context of cultural reference. Key works of art—from painting, sculpture, and architecture to illuminated manuscripts—by artists such as Michelangelo, Donatello, Botticelli, and Brunelleschi are showcased alongside the unexpected and less familiar.
John Marciari tells the story of the monuments, artists, and patrons of Renaissance Rome in this compelling book. In no other city is the ancient world so palpably present, and nowhere else is the mission of the church so evident. At the same time as the humanists sought to preserve and recreate the ancient city, giving it a new lease on life, the popes dispensed patronage much as any other contemporary Italian ruler. Rome was also the most international of the Renaissance cities with artists and architects generally training elsewhere before arriving in the city and introducing new trends. By adopting a chronological structure, covering the period c.1300–1600, Marciari is able to explore the nature of Roman patronage as it differed from papacy to papacy. He examines the city's extraordinary works of art in the context of the working practices, competition, and rivalries that made Renaissance Rome so magnificent.
A new edition--now in two volumes--of the largest and most comprehensive textbook about Italian Renaissance art. Now in its second edition, Italian Renaissance Art presents an updated and even more accessible history. The book has been split into two volumes: the first, covering the period 1300 to 1510; the second, 1490 to 1600. The volumes retain the same innovative decade-by-decade structure as the first edition, and a number of chapters have been revised by the authors to reflect the latest scholarship. The coverage of the Trecento has been expanded, and a new appendix section explains all the key Renaissance art-making techniques, with illustrations and step-by-steps for such processes as lost-wax casting. This book tells the story of art in the great cities of Rome, Florence, and Venice while profiling a range of other centers throughout Italy--including in this edition art from Naples, Padua, and Palermo.