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The Renaissance studiolo was a space devoted in theory to private reading. The most famous studiolo of all was that of Isabella d'Este, marchioness of Mantua. This work explores the function of the mythological image within a Renaissance culture of collectors.
The large-scale building projects of artists Martha Fleming & Lyne Lapointe are legendary in certain circles. And yet, because of the independent nature of their production, a comprehensive overview of this seminal work has not yet been published. This book fills that gap. A document, a bookwork, a manifesto, Studiolo explores the extensive and varied creative process of this collaborative pair. It covers not only the site works produced for entire abandoned buildings in Montréal and New York City, but also the discursive underpinnings of their fifteen-year practice. The artists' image research and aesthetic are part and parcel of showing and telling in Studiolo - itself a work of art.
A big part of the artisanal/DIY movement is about authenticity and quality, with a return to simplicity, real values, genuine materials, and careful craftsmanship. Leather is one of those authentic materials, and while it has always been used for handbags and gloves, it’s also enjoying a resurgence in the field of crafts. Simple objects elegantly made of leather are featured everywhere on maker blogs, photo-sharing sites, tutorials, and craft marketplaces. Leather is in the real world, too, in heavily curated hipster boutiques and well-edited coffee shops that sell sundries. Idiot’s Guides®: Leather Crafts offers 20 projects (illustrated with copious step-by-step photos), ranging from beginner to advanced, each one building on the skills that have been taught in prior projects. Unlike most existing books on leathercraft, which come with a heavy whiff of the ‘70s, this one has a sleek, modern aesthetic. The projects are functional, and the minimal, elegant embellishment and natural finishes will keep them timeless.
A brief study of select Western art from Italy's foremost philosopher. In Renaissance palaces, the studiolo was a small room to which the prince withdrew to meditate or read, surrounded by paintings he particularly loved. This book is a kind of studiolo for its author, Giorgio Agamben, as he turns his philosophical lens on the world of Western art. Studiolo is a fascinating take on a selection of artworks created over millennia; some are easily identifiable, others rarer. Though they were produced over an arc of time stretching from 5000 BCE to the present, only now have they achieved their true legibility. Agamben contends that we must understand that the images bequeathed by the past are really addressed to us, here and now; otherwise, our historical awareness is broken. Notwithstanding the attention to detail and the critical precautions that characterize the author's method--they provoke us with a force, even a violence, that we cannot escape. When we understand why Dostoevsky feared losing his faith before Holbein's Body of the Dead Christ, when Chardin's Still Life with Hare is suddenly revealed to our gaze as a crucifixion or Twombly's sculpture shows that beauty must ultimately fall, the artwork is torn from its museological context and restored to its almost prehistoric emergence. These artworks are beautifully reproduced in color throughout Agamben's short but significant addition to his scholarly oeuvre in English translation.
The studioli of the ducal palaces at Urbino and Gubbio, Italy, demonstrate architecture's capacity to transact between the mental and physical realms of human experience. Constructed between 1474 and 1483 for the military captain Federico da Montefeltro and his young motherless son, the studioli may be described as treasuries of emblems: they contain not things but images of things, rendered with remarkable perspectival exactitude. These small, image-filled chambers reflect how architecture and its ornament equipped a quattrocento mind with metaphors for wisdom and methods for statecraft and intellectual activity. Drawing on the densely layered imagery in the studioli and text sources readily available to the Urbino court, Robert Kirkbride examines the position of the studioli in the Western tradition of the memory arts, considering how architecture bridged the mathematical arts, which lent themselves to mechanical pursuits, and the art of rhetoric, a discipline central to memory and eloquence. As subtle ramifications of material and mental craft, the studioli provided ideal methods for education and prudent governance, extending an ancient legacy of open-ended models that were conceived to activate the imagination and exercise the memory. At the time of their construction, the studioli represented the leading edge of technologies of visual representation and offer a case study of how contemporary advances in interactive technologies reactivate and transform ancient metaphors for thought and learning.