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This volume catalogues paintings from Venice made between 1540 and 1600, and includes some of the greatest pictures in the National Gallery, London.
Sixteenth-Century Italian Art is a first-rate collection of the major classic and contemporary writings on the Italian Renaissance. Taking a thematic approach, the book exemplifies the traditional concerns of the field and presents arguments in a clear, accessible way. A stellar collection of 23 classic and recent essays on the art and architecture of this fascinating period in art history Brings together in a single volume, important literature on sixteenth-century Italian art from the last half century, highlighting major topics of recent art historical studies Introduces major topics and debates in the field, including pagan mysteries, nature and artifice, the art of the body, and “reformations” of art, theory and practice Includes new translations of texts never previously published in English Organized thematically, and features substantial editorial introductions, making this anthology ideal for course use.
Influenced by a revival of interest in Greco-Roman ideals and sponsored by a newly prosperous merchant class, fifteenth-century artists produced works of astonishingly innovative content and technique. The International Gothic style of painting, still popular at the beginning of the century, was giving way to the influence of Early Netherlandish Flemish masters such as Jan van Eyck, who emphasized narrative and the complex use of light for symbolic meaning. Patrons favored paintings in oil and on wooden panels for works ranging from large, hinged altarpieces to small, increasingly lifelike portraits. In the Italian city-states of Florence, Venice, and Mantua, artists and architects alike perfected existing techniques and developed new ones. The painter Masaccio mastered linear perspective; the sculptor Donatello produced anatomically correct but idealized figures such as his bronze nude of David; and the brilliant architect and engineer Brunelleschi integrated Gothic and Renaissance elements to build the self-supporting dome of the Florence Cathedral. This beautifully illustrated guide analyzes the most important people, places, and concepts of this early Renaissance period, whose explosion of creativity was to spread throughout Europe in the sixteenth century.
This text examines the role that music can play in the artworks of the Renaissance, in particular, Italian painting of the 16th century. It aims to demonstrate that identifying a musical composition, especially if it has a text, can augment interpretations of the artwork.
"The authors look closely at a variety of types of painting - including large altarpieces, small domestic, devotional images, diplomatic gifts, furniture, decorations and both intimate and full-length portraits - as well as frescoes, drawings and prints. They provide insights into the meanings of individual pictures and into the purposes they were originally intended to serve, and they explore the social position of the artist in the 1500s.
Catalog of an exhibition held at National Gallery of Australia, Canberra, Dec. 9, 2011-Apr. 9, 2012.
An introduction to 15th century Italian painting and the social history behind it, arguing that the two are interlinked and that the conditions of the time helped fashion distinctive elements in the painter's style.
This work describes art patronage in 16th-century Italy. For example, it was the time when Julius II and Bramante embarked upon rebuilding St Peter's; Paul III commissioned Michelangelo to paint the Last Judgement; and Sixtus V and Domenico Fontana transformed the urban fabric of Rome. Other great projects included Borromeo and Pellegrino Tibaldi introducing the ideals of the Counter-Reformation in an ambitious programme of religious architecture in Milan; the centre of Venice being dramatically remodelled by the city's government and Jacopo Sansovino; wealthy Venetian patricians building beautiful villas in the Veneto from designs by Pallado, and commissioning their altarpieces and portraits from artists of the calibre of Titian and Tintoretto. At the same time, Giulio Romano built and decorated the Palazzo del Te for Federigo Gonzaga and, perhaps in the most famous partnership of all, Vasari gave visual expression to Cosimo I's ambition in an enormous programme of building and embellishment that established Florence as a centre of artistic excellence.
A comprehensive overview of sixteenth-century Italian art.