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• This book offers an engaging, well-researched introduction to the influential female figures who helped lay the foundations of Renaissance culture, making it easy for educators to integrate women’s history into the study of the past and for the general reader to gain a reliable, richly detailed overview. • Each chapter functions as a stand-alone study, combining an engaging narrative biography with an expert grasp of the cultural, political, and artistic context of this historical period to allow students and lecturers to either use parts or the whole of this book to support their studies and teaching. • Taken as a whole, students will be shown that these women were not isolated cases of female exceptionality, but rather a part of a larger and more complex tapestry of Renaissance achievement, one that connects them to one another as well as to the male writers, artists, and leaders whose names many readers will already know. • Interwoven within each chapter are primary sources (letters, poems, sketches) and portraits of each of the women discussed, providing students with a fuller picture of these women.
Challenging the conception that only men shaped the Holy Roman Empire, this book provides students and general readers with biographies of preachers, nuns, princesses, businesswomen, artists, scientists, writers, and social movers who exercised agency in the Holy Roman Empire. Who was Maria Theresia Paradis, and have you ever heard of Empress Eleonora Magdalena? Numerous women achieved prominence or made important contributions to the life of the early modern Holy Roman Empire, but they are only gradually being rediscovered. Generations of historians had assumed that princely women were essentially limited to childbearing, or townswomen to running the household. And although it took a long time for higher education to become attainable to women, they also made their voices heard in the sciences, arts, and religion. Indeed, a closer look reveals that the history of the empire was also a history of the interaction of men and women and a history of women's self-empowerment. This book offers a biographical perspective on that past, as well as a fascinating panorama of women who left their mark on the Holy Roman Empire. This book is the perfect introduction to anyone wishing to broaden their knowledge of women’s history, the Holy Roman Empire, and early modern Europe.
In the early development of the modern Italian state, individual orphanages were a reflection of the intertwining of politics and charity. Nearly half of the children who lived in the cities of the late Italian Renaissance were under fifteen years of age. Grinding poverty, unstable families, and the death of a parent could make caring for these young children a burden. Many were abandoned, others orphaned. At a time when political rulers fashioned themselves as the "fathers" of society, these cast-off children presented a very immediate challenge and opportunity. In Bologna and Florence, government and private institutions pioneered orphanages to care for the growing number of homeless children. Nicholas Terpstra discusses the founding and management of these institutions, the procedures for placing children into them, the children's daily routine and education, and finally their departure from these homes. He explores the role of the city-state and considers why Bologna and Florence took different paths in operating the orphanages. Terpstra finds that Bologna's orphanages were better run, looked after the children more effectively, and were more successful in returning their wards to society as productive members of the city's economy. Florence's orphanages were larger and harsher, and made little attempt to reintegrate children into society. Based on extensive archival research and individual stories, Abandoned Children of the Italian Renaissance demonstrates how gender and class shaped individual orphanages in each city's network and how politics, charity, and economics intertwined in the development of the early modern state.
Frame Work explores how framing devices in the art of Renaissance Italy respond, and appeal, to viewers in their social, religious, and political context.
Shrewd and ruthless, the Pucci were Medici loyalists whose political and cultural alignment with the most powerful family in Renaissance Florence was rewarded with wealth and influence. The Pucci family's martial support for the Medici in the ugly business of ruling Tuscany drove their transformation from a clan of minor guildsmen to a noble dynasty with three cardinals to its name. Over the next centuries, they showcased their exalted status with art and architecture that mirrored Medici tastes and reflected the values of civic humanism. The political and religious turmoil of the High Renaissance is writ large in this vivid portrait of the Pucci cardinals and their artistic patronage, a cultural biography inflected by the expulsion of the Medici from Florence, the Sack of Rome, the Reformation, and the occupation of Italy by Emperor Charles V. New archival evidence documents the chapels, palaces, and villas that were built, expanded, and decorated by the Pucci family in Rome, Tuscany, and Umbria. These celebrated projects were carried out by luminaries of Renaissance art and architecture: Michelozzo, the Pollaiuolo brothers, the Sangallo family, Baccio d'Agnolo, the Montelupo workshop, and others. A remarkable body of inventories reveals how the family's trials and tribulations shaped the fate of their estates and illustrates the role luxury goods played in the social ambitions of this newly-arrived family. Finally, a previously unknown catalogue of Palazzo Pucci tells the tale of the nineteenth-century dispersal of the family's priceless Renaissance artworks, a collection that once paralleled the splendor of the Medici court.
A witty, erudite celebration of fifty great Italian cultural achievements that have significantly influenced Western civilization from the authors of What Are the Seven Wonders of the World? “Sprezzatura,” or the art of effortless mastery, was coined in 1528 by Baldassare Castiglione in The Book of the Courtier. No one has demonstrated effortless mastery throughout history quite like the Italians. From the Roman calendar and the creator of the modern orchestra (Claudio Monteverdi) to the beginnings of ballet and the creator of modern political science (Niccolò Machiavelli), Sprezzatura highlights fifty great Italian cultural achievements in a series of fifty information-packed essays in chronological order.
This major new collection of essays by leading scholars of Renaissance Italy transforms many of our existing notions about Renaissance politics, economy, social life, religion, medicine, and art. All the essays are founded on original archival research and examine questions within a wide chronological and geographical framework - in fact the pan-Italian scope of the volume is one of the volume's many attractions.Gender and Society in Renaissance Italy provides a broad, comprehensive perspective on the central role that gender concepts played in Italian Renaissance society.
This work is a revealing combination of biographies and topical essays that describe the outstanding and often-overlooked contributions of women to the science, politics, and culture of the Renaissance. Encyclopedia of Women in the Renaissance: Italy, France, and England is the first first comprehensive reference devoted exclusively to the contributions of women to European culture in the period between 1350 and 1700. Focusing principally on early modern women in England, France, and Italy, it offers over 135 biographies of the extraordinary women of those times. Encyclopedia of Women in the Renaissance provides vivid portraits of well known women such as Catherine of Siena, Joan of Arc, Mary Queen of Scots, and Christine de Pizan. Also included are less familiar but equally important women like Elena Lucrezia Cornaro, the first woman in Europe to earn a doctorate; the renowned Renaissance painter Artemisia Gentileschi; and the acclaimed author of medical textbooks and midwife to a French queen, Louise Boursier. Based on the latest research and enhanced with thematic essays, this groundbreaking work casts our understanding of women's lives and roles in Renaissance history and culture in a provocative new light.
This is the first study of Renaissance architecture as an immersive, multisensory experience that combines historical analysis with the evidence of first-hand accounts. Questioning the universalizing claims of contemporary architectural phenomenologists, David Karmon emphasizes the infinite variety of meanings produced through human interactions with the built environment. His book draws upon the close study of literary and visual sources to prove that early modern audiences paid sustained attention to the multisensory experience of the buildings and cities in which they lived. Through reconstructing the Renaissance understanding of the senses, we can better gauge how constant interaction with the built environment shaped daily practices and contributed to new forms of understanding. Architecture and the Senses in the Italian Renaissance offers a stimulating new approach to the study of Renaissance architecture and urbanism as a kind of 'experiential trigger' that shaped ways of both thinking and being in the world.
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.