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Painters, draftsmen, goldsmiths, sculptors, and designers, the Pollaiuolo brothers of fifteenth-century Florence produced some of the most beautiful works of the Italian Renaissance.
"Focuses on the distinct personalities of the Pollaiuolo brothers, among the greatest figures of the fifteenth-century Florentine art scene. A thorough review of their works as well as of documents and scholarly literature provides the reader with a new, more carefully defined assessment of Antonio, who used a full range of techniques to express his boundless creativity, and of Piero, a painter of great elegance, who was highly sensitive to the art of the Low Countries"--Jacket.
A revealing look at the commercial strategy and diverse output of this canonical Renaissance artist. In this vivid account, Ana Debenedetti reexamines the life and work of Renaissance artist Sandro Botticelli through a novel lens: his business acumen. Focusing on the organization of Botticelli’s workshop and the commercial strategies he devised to make his way in Florence’s very competitive art market, Debenedetti looks with fresh eyes at the remarkable career and output of this pivotal artist within the wider context of Florentine society and culture. Uniquely, Debenedetti evaluates Botticelli’s celebrated works, like The Birth of Venus, alongside less familiar forms such as tapestry and embroidery, showing the breadth of the artist’s oeuvre and his talent as a designer across media.
Founded in 1977 as the publication organ for the Fifteenth-Century Symposium, Fifteenth-Century Studies has appeared annually since then. It publishes essays on all aspects of life in the fifteenth century, including medicine, philosophy, painting, religion, science, philology, history, theater, ritual and custom, music, and poetry. The editors strive to do justice to the most contested medieval century, a period that is the stepchild of research. The period defies consensus on fundamental issues: some dispute, in fact, whether the fifteenth century belonged to the Middle Ages at all, arguing that it was a period of transition, a passage to modern times. At issue, therefore, is the very tenor of an age that stood under the tripartite influence of Gutenberg, the Turks, and Columbus. Volume 25 offers a rich palette of art, theology, literature, and aesthetics of the 15th century, ranging geographically from the British Isles to Tibet, and thematically from witch trials and beast epic to early modern science and a definition of courtliness. Four studies on theatre make dramatic art the point of emphasis in volume 25: Clifford Davidson's on mystery plays, Jörn Bockmann and Judith Klinger's on the English Secunda pastorum, Michelle M. Butler's on the York and Townley pageants, and Jean Marc Pastré's on the carneval plays. Included as standard features are Edelgard DuBruck's article on the current state of fifteenth-century research and a book review section. William C. McDonald is professor of German at the University of Virginia. Edelgard E. DuBruck is professor in the Modern Languages Department at Marygrove College, Detroit, Michigan.
Grace is a central concept of theology, while the term also has a wide range of meanings in many fields. For the first time in book format, the sociology of grace (or enchantment) is comprehensively explained in detail, with fascinating results. The author’s writings on this topic take the reader on an intriguing journey which traverses subjects ranging from theology, through the history of art, archaeology and mythology to anthropology. As such, this volume will interest academics across a wide range of disciplines apart from sociology.
""This book is about hair," writes Emanuele Lugli in the first sentence of this innovative cultural history of hair as seen through the lens of Lorenzo il Magnifico's Florence. Lugli reflects on the ways writers and artists naturalized religious prejudices, circumscribed social practices, and propagated gender and class subjugation through alluring works of art, in medical and political writings, and in poetry. What, he asks, may've compelled Sandro Botticelli, for example, or the young Leonardo da Vinci and dozens of their contemporaries to obsess about hair? Why take such care in depicting the braids, knots, and textures in their portraits of women specifically? Lugli dives deeply into the cultural production of notions about hair in this period of Florentine history, the way artists, poets, natural philosophers, doctors, politicians, and theologians thought about it, and how they depicted it in their art and writings. From this varied archive, Lugli gathers rewarding insights from practices and beliefs across the disciplines and genres at a crucial time when Renaissance humanists were attempting to define what it meant to live-and be-human. Lugli recuperates overlooked perceptions of hair at the very moment when hair came to be identified as a potential vector for liberating culture, and he corrects a centuries-old prejudice that sees hair as a trivial subject, as a mere female occupation kept on the margins of relevance, relegated to passing fashion or the decorative. As Lugli shows, such oversight is anachronistic, a product of modern biases, and he corrects this by elucidating hundreds of fifteenth-century sources that engage with hair as a fundamental element in the definition of genders, morals, and the laws of nature, and the exercise of power. It is a book that will surprise and delight a wide audience of scholars and anyone interested in the hidden, systemic, creative power that relied on something as unsuspected as hair to coerce people into thinking and behaving according to a code of conduct"--
At the beginning of the fifteenth century, painters and sculptors were seldom regarded as more than artisans and craftsmen, but within little more than a hundred years they had risen to the status of "artist." This book explores how early Renaissance artists gained recognition for the intellectual foundations of their activities and achieved artistic autonomy from enlightened patrons. A leading authority on Renaissance art, Francis Ames-Lewis traces the ways in which the social and intellectual concerns of painters and sculptors brought about the acceptance of their work as a liberal art, alongside other arts like poetry. He charts the development of the idea of the artist as a creative genius with a distinct identity and individuality. Ames-Lewis examines the various ways that Renaissance artists like Mantegna, Leonardo da Vinci, Raphael, and Dürer, as well as many other less well known painters and sculptors, pressed for intellectual independence. By writing treatises, biographies, poetry, and other literary works, by seeking contacts with humanists and literary men, and by investigating the arts of the classical past, Renaissance artists honed their social graces and broadened their intellectual horizons. They also experienced a growing creative confidence and self-awareness that was expressed in novel self-portraits, works created solely to demonstrate pictorial skills, and monuments to commemorate themselves after death.
The recent exhibitions dedicated to Botticelli around the world show, more than ever, the significant and continued debate about the artist. Botticelli Past and Present engages with this debate. The book comprises four thematic parts, spanning four centuries of Botticelli’s artistic fame and reception from the fifteenth century. Each part comprises a number of essays and includes a short introduction which positions them within the wider scholarly literature on Botticelli. The parts are organised chronologically beginning with discussion of the artist and his working practice in his own time, moving onto the progressive rediscovery of his work from the late eighteenth to the turn of the twentieth century, through to his enduring impact on contemporary art and design. Expertly written by researchers and eminent art historians and richly illustrated throughout, the broad range of essays in this book make a valuable contribution to Botticelli studies.
Verrocchio worked in an extraordinarily wide array of media and used unusual practices of making to express ideas.
Discusses the life of Sandro Botticelli and describes his unique style of art.