DOCSLIB.ORG

The Renaissance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Renaissance This presentation was created by Joe Lanni This is an introduction to Italian Art - The Renaissance I am Mr. Lanni, Art Teacher at Columbia Middle School. I will lead you through this presentation which highlights a few artists from this period. You will notice that several of the artists are referred to by only one name. I used the name that the artists were most known by. Each slide contains a link for more information. This presentation was created by Joe Lanni I t a l i a n Renaissance The Renaissance is divided into two parts • Early Renaissance began in the 1400s This sculpture is called Laocoon. It is an ancient Greek sculpture • High Renaissance began in the 1500s that was copied by the Romans. It became a great inspiration for Renaissance sculptors Renaissance means rebirth • A discovery of ancient art in Italy led to an interest in classical Greek and Roman Art • Renaissance artists believed that art from Ancient Greece and Rome was perfect • Renaissance artists wanted to copy this perfect art http://www.idcrome.org/laocoon.htm This presentation was created by Joe Lanni E a r l y Renaissance • Ghiberti is most known for winning an art contest Lorenzo Ghiberti held by the city of Florence, Italy in 1401 • The winner was paid to sculpt a set of golden doors for the Baptistery building in the center of the city •These doors are about 16 feet tall This is the Baptistery. If you look closely you can see the doors. •They took over I’m pointing to it with my brush. 25 years to finish •Michelangelo called them the Gates of Paradise 100 years after they were created http://www.artchive.com/artchive/G/ghiberti.html This presentation was created by Joe Lanni E a r l y Renaissance • Brunelleschi lost the art contest to Filippo Brunelleschi Ghiberti to sculpt the Baptistery doors • Don’t feel bad for him because he became a successful engineer & architect • His architectural design was chosen to create the dome for the main Cathedral in Florence • At the time Brunelleschi’s dome was considered the greatest architectural feat in the Western world • He developed linear perspective while drawing architectural plans for this dome • This helped all artists to draw more realistically http://www.pbs.org/empires/medici/renaissance/brunelleschi.html This presentation was created by Joe Lanni E a r l y Renaissance Donatello • Donatello was trained by Lorenzo Ghiberti • He created many sculptures using different materials like: Marble, Bronze and Wood • One of Donatello’s most well known works includes a large equestrian statue that stands about 11 feet tall http://www.artchive.com/artchive/D/donatello.html This presentation was created by Joe Lanni E a r l y Renaissance Masaccio • Masaccio was influenced greatly by Brunelleschi • He incorporated the new invention of linear perspective with Christian Imagery In this picture Masaccio included the two people who paid for this painting http://www.wga.hu/frames-e.html?/html/m/masaccio/index.html This presentation was created by Joe Lanni E a r l y Renaissance Sandro Botticelli’s two most famous Sandro Botticelli paintings illustrate stories from Greek and Roman Mythology Primavera, which illustrates the story of Flora, the Roman goddess of Spring Birth of Venus, which illustrates the Goddess born of the sea http://www.ibiblio.org/wm/paint/auth/botticelli/ http://www.artchive.com/artchive/B/botticelli.html This presentation was created by Joe Lanni H i g h Renaissance Three of the most famous artists from this period are: 1. Leonardo da Vinci who painted the Mona Lisa 2. Michelangelo who sculpted the statue of David and painted the Ceiling of the Sistine Chapel 3. Raphael who painted portraits and murals for the Pope’s private residence The High Renaissance was the culmination of the artistic developments of the Early Renaissance, and one of the great explosions of creative genius in the history of the West. This presentation was created by Joe Lanni H i g h Renaissance http://www.leonardo-da-vinci-biography.com/ Leonardo DaVinci http://www.ibiblio.org/wm/paint/auth/vinci/ Everyone knows this lady. She is the Mona Lisa. Leonardo’s painting The Last Supper is a fresco which is a paint and plaster mix. It is damaged do to the fact that he experimented with a formula that has not held up over time. For centuries no one knew who she was and there were many rumors about the picture. What is known is that he brought the painting with him when he moved to France for the last 15 years of his life. He died with this painting in his possession and it was then acquired by the French Government. This is why it is owned by the Louvre. This presentation was created by Joe Lanni H i g h Renaissance Leonardo was hired by many armies to Leonardo da Vinci design weapons. This is one of his drawings for an oversize crossbow. In addition to being an artist, Leonardo was also an inventor. Some credit his design with being the inspiration for the modern day helicopter. http://inventors.about.com/od/dstartinventors/ig/Inventions-of-Leonardo-DaVinci/ This presentation was created by Joe Lanni H i g h Renaissance Michelangelo Buonaroti This is called the Pieta. Michelangelo was only 21 when he completed this sculpture. It made him very respected and helped him to get the commission to sculpt the David for the city of Florence. • Michelangelo considered himself a sculptor • He most loved sculpting from large blocks of marble • His statue of David was so large and so admired that it instantly became the symbol for city of Florence when it was finished in 1501 • The statue stands about 17 feet tall and was carved all out of one block http://www.michelangelo.com/buon/bio-index2.html http://www.artchive.com/artchive/M/michelangelo.html This presentation was created by Joe Lanni H i g h Renaissance Michelangelo Buonaroti He hated painting and only wanted to sculpt. The Pope who hired him to paint the ceiling would not let Michelangelo out of his contract until the This is called the Creation of Adam, job was finished. one of the many scenes from the ceiling. Michelangelo painted all of his figures to look like they were sculpted out of blocks Michelangelo’s most famous painting is of marble. the ceiling of the Sistine Chapel at the Vatican in Rome. He painted over 300 figures on an area that is 70 ft. high and is 150ft long by 45ft wide. It took him 4 years to finish. This presentation was created by Joe Lanni H i g h Renaissance Raphael Santi This painting by Raphael titled School of Athens depicts Ancient Greek Artists and Philosophers meeting in an Italian Renaissance building. This sums up the Renaissance ideal. Raphael is considered one of the best figure painters in the history of Western Art. He was the main rival of Michelangelo during the renaissance competing for art commissions. http://www.artchive.com/artchive/R/raphael.html This presentation was created by Joe Lanni H i g h Renaissance Titian Titian was almost as famous as Michelangelo was during the Renaissance. He lived and painted his entire career in Venice. Titian painted religious scenes and pictures from Mythology but was most known for painting lifelike portraits of nobility. http://www.wga.hu/frames-e.html?/html/t/tiziano/index.html This presentation was created by Joe Lanni I t a l i a n Renaissance That concludes this presentation on the Italian Renaissance. Check out the links on each slide to learn more about these artists and many others who worked during this period. .
Load more

Recommended publications
  • Moma's Folk Art Museum and DS+R Scandal 14
    017 Index MoMA's Folk Art Museum and DS+R 01 Editor´s Note Scandal 14 A Brief History of 02 Gabriela Salazar’s!In Advance Artwork Commission 22 of a Storm!Art Book Top Commissioned Promotion 26 Art Pieces by Top Commissioners of All Time 08 27 Contact Editor´s note Who were the first patrons in the history of art to commissioning artwork and what was their purpose? How has commissioning changed for the artist and for the entity requesting the art piece? What can be predicted as the future of the commissioning world? Our May issue explores the many and different ramifications of art commission in the past and in the present. Historical facts and recent scandals can make a quirky encapsulation of what is like to be commissioned to do art; to be commissioned an art piece for an individual, business, or government can sometimes be compared to making an agreement with the devil. “Commissioned artwork can be anything: a portrait, a wedding gift, artwork for a hotel, etc. Unfortunately, there are no universal rules for art commissions. Consequently, many clients take advantage of artists,” says Clara Lieu, an art critic for the Division of Experimental and Foundation studies and a professor at the Rhode Island School of Design. This issues aims to track down the history of ancient civilizations and the Renaissance in its relation to commissioned work, and its present manifestations in within political quarrels of 01 respectable art institutions. A Brief History of Artwork Commission: Ancient Rome and the Italian Renaissance An artwork commission is the act of soliciting the creation of an original piece, often on behalf of another.
    [Show full text]
  • TS Botticelli FRE 4C.Qxp 3/10/2009 1:41 PM Page 2
    BOTTICELLIBOTTICELLI Émile Gebhart & Victoria Charles TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 2 Text: Émile Gebhart and Victoria Charles Layout: BASELINE CO LTD 61A-63A Vo Van Tan Street 4th Floor District 3, Ho Chi Minh City Vietnam © Parkstone Press International, New York, USA © Confidential Concepts, Worldwide, USA All modification and reproduction rights reserved internationally. Unless otherwise stated, copyright for all artwork reproductions rests with the photographers who created them. Despite our research efforts, it was impossible to identify authorship rights in some cases. Please address any copyright claims to the publisher. ISBN: 978-1-78042-995-3 TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 3 ÉMILE GEBHART Sandro Botticelli TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 4 TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 5 Contents Botticelli’s Youth and Education 7 Botticelli’s First Works 37 The Medici and Botticelli’s Pagan Initiation 67 Pagan, Mystical, and Oriental Visions 113 Botticelli’s Waning Days 179 Bibliography 252 List of Illustrations 253 TS Botticelli 4C ok.qxp 11/13/2009 10:22 AM Page 6 TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 7 Botticelli’s Youth and Education TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 8 TS Botticelli 4C.qxp 11/12/2009 5:17 PM Page 9 — Botticelli’s Youth and Education — lessandro di Mariano Filipepi, also known as “di Botticello” in homage to his first master, and A Sandro Botticelli to those who knew him, was born in Florence in 1445.
    [Show full text]
  • The Esotericism in Sandro Botticelli's La Primavera
    THE ESOTERICISM IN SANDRO BOTTICELLI’S LA PRIMAVERA © Esperanza Parra López. Registered in the Spanish Register of Intellectual Property. Register Number: 08/2011/549. ABSTRACT: This article proposes an iconographic and especially iconological interpretation about the picture La Primavera (Allegory of Spring) by Sandro Botticelli. This fresh interpretation has a strong esoteric component, characteristic of the period when it was created, which has remained largely unnoticed. But the author of this research maintains that in order to fully understand this picture, it is needed to penetrate the Italian Renaissance Mentality. KEYWORDS: Marsilio Ficino – Lorenzo of Pierfrancesco of Medici – Lorenzo The Magnificent – Simonetta Vespucci – Semiramide Appiani. RESUMEN: Se propone aquí, en el presente artículo, una interpretación iconográfica y sobre todo iconológica totalmente nueva y definitiva sobre el cuadro La Primavera de Sandro Botticelli. Esta novedosa interpretación tiene un fuerte componente esotérico, propio de la época en la cual se realizó esta obra de arte, que, muchas veces, ha pasado totalmente desapercibido. Pero la autora de esta investigación, insiste, en que hay que penetrar en la mentalidad del Renacimiento Italiano y sus escritos para comprender la totalidad de dicho cuadro. THE ESOTERICISM IN SANDRO BOTTICELLI’S LA PRIMAVERA © Esperanza Parra López. Registered in the Spanish Register of Intellectual Property. Register Number: 08/2011/549. [email protected] Botticelli: La Primavera. Florence, ©Uffizi. (fig. 1) PREFACE: This essay begins with a short review of what has been written until now about Botticelli’s La Primavera. Later, the main part of the essay is presented. The purpose of this research is not to compile what has been said before, but to bring new information 2 that can help to envisage the iconographic, and above all, iconological interpretation of this artwork.
    [Show full text]
  • Neoplatonism and the Visual Arts at the Time of Marsiuo Ficino
    NEOPLATONISM AND THE VISUAL ARTS AT THE TIME OF MARSIUO FICINO Francis Ames-Lewis Over the past fifty years or so, debate on the issue of the significance of Florentine Neoplatonic philosophy, and of Ficino's philosophical ideas in particular, for the visual arts in his time has primarily revolved around paintings produced for members of the Medici family, and most particularly two of Botticelli's great panel-paintings in the Uffizi, the Pallas and the Centaur and the Primavera. This debate reached its height around 1960 when Edgar Wind and Erwin Panofsky proposed variations on the classic Neoplatonic reading, Ernst Gom­ brich's celebrated article of 1945.1 Gombrich understood the Primavera in the light of a letter from Marsilio Ficino to Lorenzo di Pierfrancesco de' Medici, second cousin to Lorenzo the Magnificent, in which Venus is equated with the concept of humanitas. However, this does not really help to elucidate the meaning of the Venus who stands at the centre of the Primavera. Moreover, Gombrich's hypothesis was further compromised by his unsatisfactory attempt to identify the figures and their interrelationships in the light of the Golden Ass of Apuleius, which in its somewhat coarse character does not well match the lyrical, pastoral quality of Botticelli's pictorial treatment. In 1958 Edgar Wind suggested, citing Ficino at frequent inter­ vals, that the two groups on either side of Venus may represent two consecutive phases of one consistent Platonic theory of love. 2 Since Vasari had seen the Primavera and the Birth of Venus hanging in the villa of Castello, which then belonged to the heirs of Lorenzo di Pierfrancesco de' Medici, Erwin Panofsky proposed in 1960 that they were pendants (despite the fact that one is on panel and the other on canvas), both painted for Lorenzo di Pierfrancesco, the first 1 E.
    [Show full text]
  • Presentazione Standard Di Powerpoint
    THE SISTINE CHAPEL PCTO – Itt. Cristoforo Colombo Rome, 25 march 2021 Class IV°A 1 Lisa Julia Adamoli, Valentin Creciun, John Tan INDEX: Where is located? Pag.3 History Pag.4 Michelangelo Buonarroti Pag.5 Sandro Botticelli Pag.6 Domenico Ghirlandaio Pag.7 The North Wall The vocation of the first Apostles Pag.9 The delivery of Keys Pag.10 Trials of Christ Pag.11 The South Wall Jurney of Moses in Egypt Pag.14 Youth of Moses Pag.15 Punishment of thesons of Korah Pag.17 Sources Pag.18 2 WHERE IS LOCATED? The Vatican Museum contain an immense wealth of art. The museums offer a great variety of collections from ancient Greek to Etruscan art and of course Renaissance art. Vatican Museum is located within the Vatican City, in Rome. 3 HISTORY The Sistine Chapel stands on the foundation of an older chapel called the Capella Magna. In 1477, Pope Sixtus IV started a rebuilding of the chapel. The chapel’s exterior is simple and unassuming. In 1503, pope Julius II, decided to change some of the Sistine Chapel's decorations. He commissioned the artist Michelangelo to do it. Pope Clement VII commissioned Michelangelo to paint the giant fresco "The Last Judgment« in 1536. 4 MICHELANGELO BUONARROTI Michelangelo Buonarroti was born in the small village of Caprese in 1475 and died in Rome in 1564. In his life he painted and scolished a lot of important paintings and sculptures. The most important are: • The Pieta • David • The Creation of Adam • The Last Jugdement 5 SANDRO BOTTICELLI Sandro Botticelli was born around 1445 in Florence and died in Florence in 1510.
    [Show full text]
  • Botticelli's Muse
    Media Kit for Botticelli’s Muse by Dorah Blume In the villa of his irritating new patron, Renaissance artist Sandro Botticelli feels his creative well run dry—until he accidentally discovers Floriana, a Jewish weaver imprisoned in his sister’s convent. Events threaten to keep his unlikely muse out of reach, and so begins a tale of one of the art world’s most beloved paintings, La Primavera, as Sandro, a confirmed bachelor, and Floriana, a headstrong artist in her own right, enter into a turbulent relationship. Sales, Marketing, and Publicity Contacts: Deborah Bluestein, Publisher Juiceboxartists Press, 617-733-9016 [email protected] P.O. Box 230553, Boston, MA 02123 Juiceboxartists Press Botticelli’s Muse by Dorah Blume About the Book Relegated to an obscure Medici villa and the whims of an annoying patron half his age, Renaissance artist Sandro Botticelli falls into indecision and depression. Once he meets Floriana, a Jewish weaver held prisoner at a near- by convent under the control of Sandro’s estranged older sister, Oslavia, everything changes. Although the Medici hold the purse strings, Floriana— the inspiration behind his painting La Primavera—holds his heart strings. All the while, the religious fanatic Savonarola watches and waits to renounce Sandro’s work and threaten the safety of his muse and her unborn child. A tanner’s son, Sandro lives in a world of nobles, philosophers, and intellectuals, yet never belongs to it. Whether to love and leave his work behind, or love his work and leave Floriana behind—Botticelli’s divided loyalties torment him. How long can he refuse to choose? THe first of a three-volume series that begins in 1477 and culminates with Sensuous and provocative as well as the execution of Girolamo Savonarola in 1498, book one, Botticelli’s Muse, mysterious .
    [Show full text]
  • 60B. Early Italian Renaissance
    GENDER ROLES and RELATIONSHIPS: EARLY ITALIAN RENAISSANCE: (Paintings by Sandro Botticelli and Domenico Ghirlandaio) EARLY ITALIAN RENAISSANCE Online Links: Sandro Botticelli – Wikipedia The Birth of Venus – Wikipedia Primavera – Wikipedia Birth of Venus - Smarthistory Primavera – Smarthistory Fra Filippo Lippi's Madonna and Child – Smarthistory Man and Woman at a Casement - Smarthistory Fra Filippo Lippi. Madonna and Child with Angels, c. 1455, tempera on wood Fra Filippo Lippi (c. 1406-1469) was the son of a Florentine butcher with too many children to support. He and one of his brothers were therefore placed in the Camaldolese monastery of the Carmine. Unlike Fra Angelico, however, Filippo lacked the temperament of a friar. At one point, he had several nuns living in his house, allegedly using them as models. When one of the nuns, Lucrezia Buti, produced a son, Filippo was brought to trial and tortured. But he was fortunate in having the backing of Cosimo de’Medici and the humanist pope, Pius II. They arranged for him to withdraw from the Order, marry Lucrezia, and have their son Filippino legitimized. The prominent rock formations directly behind Christ’s head refer to the Church and the distant city to the heavenly Jerusalem. At the left, the landscape opens into a body of water, alluding to Mary’s association with the sea. In this painting, there is a particular emphasis on the motif of the pearl, which is a product of the sea. Small pearl clasps hold together the embroidered pillowcase on the arm rest and are repeated in Mary’s hair. Their spherical shape was related to the ideal Platonic form adopted by Renaissance thinkers and they also symbolize the Immaculate Conception of Mary, the Incarnation of Christ, and the Word of God.
    [Show full text]
  • Love in Control by HEIDI J
    68 © 2016 The Institute for Faith and Learning at Baylor University Due to copyright restrictions, this image is only available in the print version of Christian Reflection. Botticelli draws freely from mythological figures to create a moral allegory of chaste and pure love controlling the sensual passions. Sandro Botticelli (1445-1510), PALLAS AND THE CENTAUR (c. 1482). Tempera on canvas. 81½“ x 58¼”. Galleria degli Uffizi, Florence. Photo: Scala / Art Resource, NY. Used by permission. © 2016 The Institute for Faith and Learning at Baylor University 69 Love in Control BY HEIDI J. HORNIK y the 1480s, Sandro Botticelli was one of the leading painters of the Renaissance and was working for the Medici family. Many works of Bthis period, often considered his masterpieces, use mythological sub- jects to blend contemporary historical references and moral instruction. Pallas and the Centaur, which is recorded in the 1498-1499 inventory as “Camilla and a Satyr,” originally was hung in the “old house” of the Medici family in a ground floor room alongside the chamber of Lorenzo, together with the Primavera.1 The old palace on Via Larga was owned by Lorenzo and Pierfrancesco de’ Medici, cousins of Lorenzo the Magnificent. The female figure with long blonde hair wears a wreath of olive branches with a diamond at the top. Her white, transparent gown is decorated with linked balls or circles, perhaps a symbol of the Medici family crest. She wears leather boots and bears defensive weapons—a diamond-crusted halberd (combined spear and battle axe) and a shield on her back.2 The centaur submits to her, despite his having a bow and quiver of arrows.
    [Show full text]
  • THE FLORENTINE HOUSE of MEDICI (1389-1743): POLITICS, PATRONAGE, and the USE of CULTURAL HERITAGE in SHAPING the RENAISSANCE by NICHOLAS J
    THE FLORENTINE HOUSE OF MEDICI (1389-1743): POLITICS, PATRONAGE, AND THE USE OF CULTURAL HERITAGE IN SHAPING THE RENAISSANCE By NICHOLAS J. CUOZZO, MPP A thesis submitted to the Graduate School—New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Art History written under the direction of Archer St. Clair Harvey, Ph.D. and approved by _________________________ _________________________ _________________________ New Brunswick, New Jersey May, 2015 ABSTRACT OF THE THESIS The Florentine House of Medici (1389-1743): Politics, Patronage, and the Use of Cultural Heritage in Shaping the Renaissance By NICHOLAS J. CUOZZO, MPP Thesis Director: Archer St. Clair Harvey, Ph.D. A great many individuals and families of historical prominence contributed to the development of the Italian and larger European Renaissance through acts of patronage. Among them was the Florentine House of Medici. The Medici were an Italian noble house that served first as the de facto rulers of Florence, and then as Grand Dukes of Tuscany, from the mid-15th century to the mid-18th century. This thesis evaluates the contributions of eight consequential members of the Florentine Medici family, Cosimo di Giovanni, Lorenzo di Giovanni, Giovanni di Lorenzo, Cosimo I, Cosimo II, Cosimo III, Gian Gastone, and Anna Maria Luisa, and their acts of artistic, literary, scientific, and architectural patronage that contributed to the cultural heritage of Florence, Italy. This thesis also explores relevant social, political, economic, and geopolitical conditions over the course of the Medici dynasty, and incorporates primary research derived from a conversation and an interview with specialists in Florence in order to present a more contextual analysis.
    [Show full text]
  • Sandro Botticelli |Sample Answer
    Sandro Botticelli | Sample answer Botticelli – 2014 Higher Level Question 10 Mythology and symbolism were the main concerns of the painter Sandro Botticelli (c. 1445- 1510). Discuss this statement with reference to the “Birth of Venus” illustrated on the accompanying sheet. Refer in your answer to composition, subject matter, treatment of the human figure and the period in which the work was produced. Name and briefly discuss one other work by this artist. Illustrate. [Image of the “Birth of Venus”] Sandro Botticelli is a renowned painter of the early Renaissance period. He was born in 1444 in Florence. At a young age, he became the apprentice of Fra Filippo Lippi, who had the Medici family (the rulers of Florence) as his patrons. Botticelli picked up certain aspects of Lippi’s style, particularly in the idealisation of the female figure. When Botticelli set up his own workshop, the Medici family commissioned some of his first pieces. He became very popular and was known for his mythological paintings. Through Botticelli’s connections with upper-class intellects he was introduced to Neo-Platonism. Neo-Platonists were an influential group of humanists who believed that there were strong links between Christianity and Pagan mythology. From spending time with such people, Botticelli found classical poetry and was inspired to paint mythological themes with hidden symbols related to it. One such painting is the “Birth of Venus” in which mythology and symbolism are both featured. Composition Venus – the Goddess of beauty and love in Greek mythology – stands in the centre of this painting. She is on a scallop shell and is being blown across the sea to shore by two zephyrs to her right.
    [Show full text]
  • The Medici Family and Their Florence
    The Medici Family and Their Florence In Florence, Italy, until the 11th century an old, landholding nobility was in power. But with the upswing of trade, a new elite established – a number of families who had gained richness in the market economy. From those privileged families a few dynasties arose, who would control the fates of the city during centuries to come: the so-called grandi (also potenti or magnati). Among the families of grandi a grim struggle for power was waged. By the end of the 15th century, the Medici dynasty prevailed. However, another 100 years were to pass before they could definitely secure their power. Only in the year 1532 was the first Medici officially declared duke of Florence. The Medici made their advancement with diplomacy, political marriages and a good deal of unscrupulousness. Their promotion of art, architecture and science spurred the Italian renaissance. They rebuilt whole quarters of Florence in Renaissance style and collected enough treasures of art to fill several museums. Florence would not be the city it is today without the Medici family. How the Florentine coins reflect this correlation, you will see here. 1 von 10 www.sunflower.ch Holy Roman Empire, Republic of Florence, Fiorino d'Argento (Grosso), c. 1260 Denomination: Fiorino d'argento (Grosso) Mint Authority: Republic of Florence Mint: Florence Year of Issue: 1260 Weight (g): 1.62 Diameter (mm): 21.0 Material: Silver Owner: Sunflower Foundation When this grosso was minted, the Republic of Florence was the most important European trade center and one of the major manufacturing towns in the Occident.
    [Show full text]
  • Lives of the Most Eminent Painters Sculptors and Architects
    Lives of the Most Eminent Painters Sculptors and Architects Giorgio Vasari Lives of the Most Eminent Painters Sculptors and Architects Table of Contents Lives of the Most Eminent Painters Sculptors and Architects.......................................................................1 Giorgio Vasari..........................................................................................................................................2 LIFE OF FILIPPO LIPPI, CALLED FILIPPINO...................................................................................9 BERNARDINO PINTURICCHIO........................................................................................................13 LIFE OF BERNARDINO PINTURICCHIO.........................................................................................14 FRANCESCO FRANCIA.....................................................................................................................17 LIFE OF FRANCESCO FRANCIA......................................................................................................18 PIETRO PERUGINO............................................................................................................................22 LIFE OF PIETRO PERUGINO.............................................................................................................23 VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD PAINTERS...........................................................................................................................................31
    [Show full text]