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A guide to Venetian architecture that covers all the major architects of the period 1460-1525, with special attention to the work of Pietro Lombardo and Mauro Codussi.
John McAndrew's Modernist Vision tells the compelling story of the architect, scholar, and curator John McAndrew, who played a key role in redefining modernism in the United States from the 1930s onward. The designer of the Vassar College Art Library—arguably the first modern interior on a college campus—and the curator of architecture at the Museum of Modern Art in New York from 1937 to 1941, McAndrew was instrumental in creating a distinct and innovative aesthetic that bridged the European modernist lineage and American regional vernacular. Providing a fascinating glimpse into McAndrew's life, his associations with important architects and artists, and the historical context that shaped his work, this book is a thoroughly researched testament to a man who left a powerful mark on the evolution of American architecture.
This book investigates perceptions, modes, and techniques of Venetian rule in the early modern Eastern Mediterranean (1400–1700) between colonial empire, negotiated and pragmatic rule; between soft touch and exploitation; in contexts of former and continuous imperial belongings; and with a focus on representations and modes of rule as well as on colonial daily realities and connectivities.
The field of Venetian studies has experienced a significant expansion in recent years, and the Companion to Venetian History, 1400-1797 provides a single volume overview of the most recent developments. It is organized thematically and covers a range of topics including political culture, economy, religion, gender, art, literature, music, and the environment. Each chapter provides a broad but comprehensive historical and historiographical overview of the current state and future directions of research. The Companion to Venetian History, 1400-1797 represents a new point of reference for the next generation of students of early modern Venetian studies, as well as more broadly for scholars working on all aspects of the early modern world. Contributors are Alfredo Viggiano, Benjamin Arbel, Michael Knapton, Claudio Povolo, Luciano Pezzolo, Anna Bellavitis, Anne Schutte, Guido Ruggiero, Benjamin Ravid, Silvana Seidel Menchi, Cecilia Cristellon, David D’Andrea, Elisabeth Crouzet-Pavan, Wolfgang Wolters, Dulcia Meijers, Massimo Favilla, Ruggero Rugolo, Deborah Howard, Linda Carroll, Jonathan Glixon, Paul Grendler, Edward Muir, William Eamon, Edoardo Demo, Margaret King, Mario Infelise, Margaret Rosenthal and Ronnie Ferguson.
Decorated by Giovanni Buonconsiglio, Jacopo Tintoretto, Palma il Giovane, Sebastiano Ricci and Giambattista Tiepolo, the church of the former Benedictine female monastery Santi Cosma e Damiano occupies an outstanding position in Venice. The author of this study argues that from its foundation in 1481 to its dissolution in 1805, Santi Cosma e Damiano was a reform convent, and that its nuns employed art and architecture as a means to actively express their specific religious concerns. While on the one hand focusing, on the basis of extensive archival research, on the reconstruction of the history and construction of the convent, this study's larger concern is with the religious reform movement, its ideas concerning art and architecture, and with the convent as a space for female self-realization in early modern Venice.
This study reveals the broad material, devotional, and cultural implications of sculpture in Renaissance Venice. Examining a wide range of sources—the era’s art-theoretical and devotional literature, guidebooks and travel diaries, and artworks in various media—Lorenzo Buonanno recovers the sculptural values permeating a city most famous for its painting. The book traces the interconnected phenomena of audience response, display and thematization of sculptural bravura, and artistic self-fashioning. It will be of interest to scholars working in art history, Renaissance history, early modern art and architecture, material culture, and Italian studies.
Inspired by Deborah Howard’s leading role in fostering a historically grounded and interdisciplinary approach to the art and architecture of Venice, the essays here examine the connections and rapports between art and identity through the discussion of patronage, space (domestic and ecclesiastical), and dissemination of architectural knowledge as well as models within Venice, its territories and beyond.
Pursuing the intersections of Venetian culture from the beginning of the sixteenth century through the first decades of the seventeenth, Manfredo Tafuri develops a story crowded with characters and full of surprises. He engages the doges Andrea Gritti and Leonardo Dona; architects and artists Sansovino, Serlio, Palladio, and Scamozzi; and scientists Francesco Barozzi and Galileo. He records the battle that was fought for architecture as metaphor for absolute truth and good government, and contrasts these with the myths that inspired them.
This book brings to life the story of the construction of some of the most outstanding early Renaissance buildings in Venice. Through a series of individual case studies, Richard J. Goy explores how and why great buildings came to be built. He addresses the practical issues of constructing such buildings as the Torre dell’Orologio in Piazza San Marco, the Arsenale Gate, and the churches of Santa Maria della Carita and San Zaccaria, focusing particular attention on the process of patronage. The book is the first to trace the complete process of creating important buildings, from the earliest conception in the minds of the patrons--the Venetian state or other institutional patrons--through the choice of architect, the employment of craftsmen, and the selection of materials. In an interesting analysis of the participants’ roles, Goy highlights the emerging importance of the superintending master, the protomaestro.