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Focusing on how sculptures adjusted to this cultural tumult, Jeffrey Chipps Smith offers the first comprehensive examination of the artistic response to the challenge of the Reformation in German lands. In so doing he exposes the years leading up to the Counter-Reformation as a period of surprising artistic vibrance
Cyriac of Ancona is sometimes regarded as the father of classical archaeology. Cyriac's accounts of his travels, with commentary reflecting wide-ranging antiquarian, political, religious, and commercial interests, provide a fascinating record of the encounter of the Renaissance world with the legacy of classical antiquity.
Originally published in 1992, Music in English Children’s Drama of the Later Renaissance is the first book-length study to examine the Elizabethan and Jacobean children’s drama, not only from a musicological perspective, but also drawing on the histories of literature, culture, and the theater. It gives the children’s companies new historical significance, showing that they were an integral and ultimately influential part of the London theatrical world. These companies originated important features of later drama, such as music before and between acts, and the exploitation of different timbres for specific effects. Those interested in music history, English literature, theater history, and cultural history will find this a comprehensive and fascinating study. Of special note are the appendices, which offer a unique and important reference source by providing the only definitive list of the plays and songs used by the children.
A new account of the birth of the West through its birthplace--Renaissance Italy The period between 1492--resonant for a number of reasons--and 1571, when the Ottoman navy was defeated in the Battle of Lepanto, embraces what we know as the Renaissance, one of the most dynamic and creatively explosive epochs in world history. Here is the period that gave rise to so many great artists and figures, and which by its connection to its classical heritage enabled a redefinition, even reinvention, of human potential. It was a moment both of violent struggle and great achievement, of Michelangelo and da Vinci as well as the Borgias and Machiavelli. At the hub of this cultural and intellectual ferment was Italy. The Beauty and the Terror offers a vibrant history of Renaissance Italy and its crucial role in the emergence of the Western world. Drawing on a rich range of sources--letters, interrogation records, maps, artworks, and inventories--Catherine Fletcher explores both the explosion of artistic expression and years of bloody conflict between Spain and France, between Catholic and Protestant, between Christian and Muslim; in doing so, she presents a new way of witnessing the birth of the West.
A fascinating and counterintuitive portrait of the sordid, hidden world behind the dazzling artwork of Michelangelo, Leonardo da Vinci, Botticelli, and more Renowned as a period of cultural rebirth and artistic innovation, the Renaissance is cloaked in a unique aura of beauty and brilliance. Its very name conjures up awe-inspiring images of an age of lofty ideals in which life imitated the fantastic artworks for which it has become famous. But behind the vast explosion of new art and culture lurked a seamy, vicious world of power politics, perversity, and corruption that has more in common with the present day than anyone dares to admit. In this lively and meticulously researched portrait, Renaissance scholar Alexander Lee illuminates the dark and titillating contradictions that were hidden beneath the surface of the period’s best-known artworks. Rife with tales of scheming bankers, greedy politicians, sex-crazed priests, bloody rivalries, vicious intolerance, rampant disease, and lives of extravagance and excess, this gripping exploration of the underbelly of Renaissance Italy shows that, far from being the product of high-minded ideals, the sublime monuments of the Renaissance were created by flawed and tormented artists who lived in an ever-expanding world of inequality, dark sexuality, bigotry, and hatred. The Ugly Renaissance is a delightfully debauched journey through the surprising contradictions of Italy’s past and shows that were it not for the profusion of depravity and degradation, history’s greatest masterpieces might never have come into being.
This volume comprises sixteen essays on the reception of Titian by British painters, collectors and critics in the long nineteenth century. The main focus falls on the first three decades of the century, in the aftermath of the exhibition of the celebrated Orleans collection in London in 1798-99. But the chronology extends from Reynolds and his contemporaries, around the time of the founding of the Royal Academy in 1768, to the more diverse and complicated reactions of the Victorian age, and even into the twentieth century. This book was nominated on the long list for the William MB Berger Prize for British Art History 2014. This award was established in 2001 by the Berger Collection Educational Trust and The British Art Journal and is awarded annually to a book or exhibition catalogue that has made an outstanding contribution to the history of British art.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
From Latin humanists to popular writers, Italian Renaissance culture spawned a lively debate on vocational choice and the nature of profession. In The Culture of Profession in Late Renaissance Italy, George W. McClure examines the turn this debate took in the second half of the Renaissance, when the learned 'praise and rebuke' of profession began to be complemented with more popular forms of discourse, and when less learned vocations made their voice heard. Focusing primarily on sources assembled and published in the sixteenth century, McClure's study explores professional themes in comic, festive, and popular print culture. A pivotal figure is Tomaso Garzoni, a monk whose popular encyclopedia, Universal Piazza of all the Professions of the World, was published in 1585. A funnel for earlier traditions and an influence on later ones, this massive compendium treated over 150 categories of profession - juxtaposing the world of philosophers and poets, lawyers and physicians, merchants and artisans, teachers and printers, cooks and chimneysweeps, prostitutes and procurers. If the conventional view is that Italian Renaissance society generally grew more aristocratic in the later period, this and other sources reveal a professional ethos more democratic in nature and bespeak the full cultural discovery of the middling and lowly professions in the late Renaissance.
"In this volume, the work of the German, Dutch, Flemish, French, and English masters of the fifteenth and sixteenth centuries is explored in more than one hundred reproductions. In addition to such well-known masterpieces as Van Eyck's Crucifixion and Last Judgment, Memling's Tommaso Portinari and Maria Baroncelli, Bruegel's Harvesters, Durer's woodcut The Four Horsemen of the Apocalypse, Cranach's Judgment of Paris, and Holbein's Erasmus of Rotterdam, this volume includes many lesser-known works in oil and on paper, as well as sculpture, decorative arts, and armor from the collections of The Metropolitan Museum of Art."--Page [2] of cover.
An up-to-date survey of this dynamic period of artistic innovation.