Florence Edited by Francis Ames-Lewis Frontmatter More Information

Total Page:16

File Type:pdf, Size:1020Kb

Florence Edited by Francis Ames-Lewis Frontmatter More Information Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Frontmatter More information ARTISTIC CENTERS OF THE ITALIAN RENAISSANCE FLORENCE S This volume examines works of art in a variety of media produced in Florence from 1300 to 1600. Chronologically organized, each chapter exam- ines works of art and architecture within the context of the major political, social, economic, and cultural events of the period. Patterns of patronage, both secular and religious, that accompanied changes in political authority as power shifted from republican regimes to rule by the Medici family and back are also assessed. The volume follows the movements and trends that were initiated by Florentine artists, beginning with Giotto in the fourteenth century; then followed a century later by Masaccio, Donatello, Brunelleschi, and Michelangelo; and, finally, the achievements of sixteenth-century artists such as Cellini, Bronzino, and Vasari. The book is lavishly illustrated in both black and white and color. Francis Ames-Lewis is Emeritus Professor of the History of Art at Birkbeck College, University of London. He has edited or coedited ten volumes of collected essays and conference papers and has contributed numerous articles to scholarly journals and books. He is the author of several books, including Drawing in Early Renaissance Italy, The Draftsman Raphael,andThe Intellectual Life of the Early Renaissance Artist. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Frontmatter More information ARTISTIC CENTERS OF THE ITALIAN RENAISSANCE General Editor Marcia B. Hall, Temple University, Philadelphia This series serves as a revisionist history of the arts produced in Italy dur- ing the early modern period, from 1300 to 1600. Each volume focuses on an important center where the arts flourished during these centuries. Exam- ining artworks within their social, religious, and cultural contexts, volumes will analyze all media – painting, sculpture, architecture, and the decorative arts – and determine how, during the fifteenth century, humanist ideas and classical models were integrated with long-standing artistic traditions. For the sixteenth century, they establish secular and religious patterns of patronage, the development of theory, the crisis of the Reformation and its effect on the arts, and the profound changes in the arts that resulted from the new norms created by the Council of Trent. Richly illustrated, volumes in this series provide an up-to-date and comprehensive overview of Italian art at a pivotal moment in its history. Other Books in the Series ROME, edited by Marcia B. Hall, Temple University, Philadelphia VENICE AND VENETO, edited by Peter Humfrey, University of St. Andrews THE COURT CITIES OF NORTHERN ITALY, edited by Charles M. Rosenberg, University of Notre Dame Forthcoming NAPLES, edited by Thomas Willette, University of Michigan, Ann Arbor, and Marcia B. Hall, Temple University, Philadelphia © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Frontmatter More information ARTISTIC CENTERS OF THE ITALIAN RENAISSANCE FLORENCE S edited by Francis Ames-Lewis Birkbeck College, University of London © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao˜ Paulo, Delhi, Tokyo, Mexico City Cambridge University Press 32 Avenue of the Americas, New York, ny 10013-2473, usa www.cambridge.org Information on this title: www.cambridge.org/9780521851626 C Cambridge University Press 2012 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2012 Printed in the United States of America A catalog record for this publication is available from the British Library. Library of Congress Cataloging in Publication data Florence / [edited by] Francis Ames-Lewis. p. cm. – (Artistic centers of the Italian Renaissance) Includes bibliographical references and index. isbn 978-0-521-85162-6 (hardback) 1. Art, Italian – Italy – Florence. 2. Art, Renaissance – Italy – Florence. I. Ames-Lewis, Francis, 1943– II. Title. III. Series. n6921.f7f49 2011 709.45511 –dc22 2011002721 isbn 978-0-521-85162-6 Hardback Cambridge University Press has no responsibility for the persistence or accuracy of urls for external or third-party Internet Web sites referred to in this publication and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Frontmatter More information In memory of Bill Kent (1942–2010) © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Frontmatter More information CONTENTS S List of Illustrations page xi List of Contributors xxi Acknowledgments xxiii introduction 1 Francis Ames-Lewis 1 florence, 1300–1600 7 Francis W. Kent 2 florence before the black death 35 Janet Robson 3 the arts in florence after the black death 79 Louise Bourdua 4 republican florence, 1400–1434 119 Adrian W. B. Randolph 5 the florence of cosimo “il vecchio” de’ medici: within and beyond the walls 167 Roger J. Crum 6 art and cultural identity in lorenzo de’ medici’s florence 208 Caroline Elam 7 republican florence and the arts, 1494–1513 252 Jill Burke ix © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Frontmatter More information x CONTENTS 8 florence under the medici pontificates, 1513–1537 290 William E. Wallace 9 cosimoiandthearts 330 Elizabeth Pilliod Bibliography 375 Index 413 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian Renaissance: Florence Edited by Francis Ames-Lewis Frontmatter More information ILLUSTRATIONS S Color Plates XI Andrea di Cione (Orcagna), Tabernacle, Color plates follow pages xxiv, 120, and 208. Orsanmichele, Florence I Giotto, Crucifix, Santa Maria Novella, XII Anonymous, Episodes from the Lives of Florence Diana and Actaeon (obverse side of II Giotto, Trial by Fire, Bardi Chapel, Santa wooden tray). Roscoe and Margaret Croce, Florence Oakes Income Fund, 78.78.M.H.de III Ambrogio Lorenzetti, The Miracle of the Young Memorial Museum, San Resurrected Boy and The Miracle of the Francisco, CA Grain,Uffizi,Florence XIII Spinello Aretino, NiccolodiPietro` IV Taddeo Gaddi, Baroncelli Chapel, Gerini, and Lorenzo di Niccolo,` view of the window wall, Santa Croce, Coronation of the Virgin, Accademia, Florence Florence V Master of the Dominican Effigies, XIV Lorenzo Monaco, Coronation of the Nativity: leaf from the Sant’Agnese Virgin, Uffizi, Florence laudario; Rosenwald Collection XV Gentile da Fabriano, Adoration of the 1949.5.87, National Gallery of Art, Magi, Uffizi, Florence Washington DC XVI Masaccio (and Brunelleschi?), Trinity VI Bernardo Daddi, Bigallo Triptych,Museo (Throne of Mercy), Santa Maria Novella, del Bigallo, Florence Florence VII Andrea di Cione (Orcagna), Strozzi XVII Masaccio and Masolino, Brancacci Altarpiece, Strozzi Chapel, Santa Maria Chapel, general view, Santa Maria del Novella, Florence Carmine, Florence VIII Andrea di Bonaiuto, The Way to XVIII Master of the Judgment of Paris, The Salvation, detail of center. Judgment of Paris, Bargello, Florence Chapterhouse, Santa Maria Novella, XIX Fra Filippo Lippi, Annunciation, Martelli Florence Chapel, San Lorenzo, Florence IX Agnolo Gaddi, Cappella Maggiore XX Fra Carnevale, Presentation of the Virgin frescoes, general view, Santa Croce, in the Temple,MuseumofFineArts, Florence Boston X Unknown illuminator, Dormition and XXI Alesso Baldovinetti, Nativity, Chiostrino Assumption of the Virgin, Add. MS dei Voti, Santissima Annunziata, 37,955A, British Library, London Florence xi © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85162-6 - Artistic Centers of the Italian
Recommended publications
  • March 27, 2018 RESTORATION of CAPPONI CHAPEL in CHURCH of SANTA FELICITA in FLORENCE, ITALY, COMPLETED THANKS to SUPPORT FROM
    Media Contact: For additional information, Libby Mark or Heather Meltzer at Bow Bridge Communications, LLC, New York City; +1 347-460-5566; [email protected]. March 27, 2018 RESTORATION OF CAPPONI CHAPEL IN CHURCH OF SANTA FELICITA IN FLORENCE, ITALY, COMPLETED THANKS TO SUPPORT FROM FRIENDS OF FLORENCE Yearlong project celebrated with the reopening of the Renaissance architectural masterpiece on March 28, 2018: press conference 10:30 am and public event 6:00 pm Washington, DC....Friends of Florence celebrates the completion of a comprehensive restoration of the Capponi Chapel in the 16th-century church Santa Felicita on March 28, 2018. The restoration project, initiated in March 2017, included all the artworks and decorative elements in the Chapel, including Jacopo Pontormo's majestic altarpiece, a large-scale painting depicting the Deposition from the Cross (1525‒28). Enabled by a major donation to Friends of Florence from Kathe and John Dyson of New York, the project was approved by the Soprintendenza Archeologia Belle Arti e Paesaggio di Firenze, Pistoia, e Prato, entrusted to the restorer Daniele Rossi, and monitored by Daniele Rapino, the Pontormo’s Deposition after restoration. Soprintendenza officer responsible for the Santo Spirito neighborhood. The Capponi Chapel was designed by Filippo Brunelleschi for the Barbadori family around 1422. Lodovico di Gino Capponi, a nobleman and wealthy banker, purchased the chapel in 1525 to serve as his family’s mausoleum. In 1526, Capponi commissioned Capponi Chapel, Church of St. Felicita Pontormo to decorate it. Pontormo is considered one of the most before restoration. innovative and original figures of the first half of the 16th century and the Chapel one of his greatest masterpieces.
    [Show full text]
  • The Master of the Unruly Children and His Artistic and Creative Identities
    The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works.
    [Show full text]
  • Discovering Florence in the Footsteps of Dante Alighieri: “Must-Sees”
    1 JUNE 2021 MICHELLE 324 DISCOVERING FLORENCE IN THE FOOTSTEPS OF DANTE ALIGHIERI: “MUST-SEES” In 1265, one of the greatest poets of all time was born in Florence, Italy. Dante Alighieri has an incomparable legacy… After Dante, no other poet has ever reached the same level of respect, recognition, and fame. Not only did he transform the Italian language, but he also forever altered European literature. Among his works, “Divine Comedy,” is the most famous epic poem, continuing to inspire readers and writers to this day. So, how did Dante Alighieri become the father of the Italian language? Well, Dante’s writing was different from other prose at the time. Dante used “common” vernacular in his poetry, making it more simple for common people to understand. Moreover, Dante was deeply in love. When he was only nine years old, Dante experienced love at first sight, when he saw a young woman named “Beatrice.” His passion, devotion, and search for Beatrice formed a language understood by all - love. For centuries, Dante’s romanticism has not only lasted, but also grown. For those interested in discovering more about the mysteries of Dante Alighieri and his life in Florence , there are a handful of places you can visit. As you walk through the same streets Dante once walked, imagine the emotion he felt in his everlasting search of Beatrice. Put yourself in his shoes, as you explore the life of Dante in Florence, Italy. Consider visiting the following places: Casa di Dante Where it all began… Dante’s childhood home. Located right in the center of Florence, you can find the location of Dante’s birth and where he spent many years growing up.
    [Show full text]
  • Painting Perspective & Emotion Harmonizing Classical Humanism W
    Quattrocento: Painting Perspective & emotion Harmonizing classical humanism w/ Christian Church Linear perspective – single point perspective Develops in Florence ~1420s Study of perspective Brunelleschi & Alberti Rules of Perspective (published 1435) Rule 1: There is no distortion of straight lines Rule 2: There is no distortion of objects parallel to the picture plane Rule 3: Orthogonal lines converge in a single vanishing point depending on the position of the viewer’s eye Rule 4: Size diminishes relative to distance. Size reflected importance in medieval times In Renaissance all figures must obey the rules Perspective = rationalization of vision Beauty in mathematics Chiaroscuro – use of strong external light source to create volume Transition over 15 th century Start: Expensive materials (oooh & aaah factor) Gold & Ultramarine Lapis Lazuli powder End: Skill & Reputation Names matter Skill at perspective Madonna and Child (1426), Masaccio Artist intentionally created problems to solve – demonstrating skill ☺ Agonistic Masaccio Dramatic shift in painting in form & content Emotion, external lighting (chiaroscuro) Mathematically constructed space Holy Trinity (ca. 1428) Santa Maria Novella, Florence Patron: Lorenzo Lenzi Single point perspective – vanishing point Figures within and outside the structure Status shown by arrangement Trinity literally and symbolically Vertical arrangement for equality Tribute Money (ca. 1427) Brancacci Chapel in Santa Maria del Carmine, Florence Vanishing point at Christ’s head Three points in story Unusual
    [Show full text]
  • Street Culture Italia
    1 Students and Faculty in Pompeii inside cover 2 3 Rome PHOTO // Tanesha Hobson image image 4 5 Venice PHOTO // Marco Sarno CONTENTSPreface 8 Flight Map 12 Art 14 Architecture 32 Religion 50 Culture 68 Program Faculty 86 Tour Guides 88 Itinerary 92 Acknowledgements 94 6 The Fourm, Rome 7 PHOTO // Jessica Demaio The Arts of Italy’s greatest success was in introducing William PREFACE Paterson’s art students to not By Professor Claudia Goldstein only the art and culture of Italy, but to the possibility and joy of international travel. THE ARTS OF ITALY, A TWO WEEK WINTER SESSION COURSE encounters with the towering Palazzo Vecchio and the view — at the top of We then traveled to Rome, the Eternal City, where we immersed WHICH TOOK TWELVE STUDENTS TO SIX CITIES IN ITALY OVER many, many steps — from the medieval church of San Miniato al Monte. ourselves in more than two thousand years of history. We got a fascinating WINTER BREAK 2016-17, WAS CONCEIVED AS AN IDEA — AND TO After we caught our breath, we also caught a beautiful Florentine sunset tour of the Roman Forum from an American architectural historian and SOME EXTENT A PIPE DREAM — ALMOST A DECADE AGO. which illuminated the Cathedral complex, the Palazzo Vecchio, and the architect who has lived in Rome for 25 years, and an expert on Jesuit The dream was to take a group of students on a journey across Italy to show surrounding city and countryside. architecture led us through the Baroque churches of Sant’Ignazio and Il them some of that country’s vast amount of art and architectural history, We spent three beautiful days in Florence — arguably the students’ Gesu’.
    [Show full text]
  • The Best of Renaissance Florence April 28 – May 6, 2019
    Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies.
    [Show full text]
  • Rethinking Savoldo's Magdalenes
    Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs.
    [Show full text]
  • The Strange Art of 16Th –Century Italy
    The Strange Art of 16th –century Italy Some thoughts before we start. This course is going to use a seminar format. Each of you will be responsible for an artist. You will be giving reports on- site as we progress, in as close to chronological order as logistics permit. At the end of the course each of you will do a Power Point presentation which will cover the works you treated on-site by fitting them into the rest of the artist’s oeuvre and the historical context.. The readings: You will take home a Frederick Hartt textbook, History of Italian Renaissance Art. For the first part of the course this will be your main background source. For sculpture you will have photocopies of some chapters from Roberta Olsen’s book on Italian Renaissance sculpture. I had you buy Walter Friedlaender’s Mannerism and Anti-Mannerism in Italian Painting, first published in 1925. While recent scholarship does not agree with his whole thesis, many of his observations are still valid about the main changes at the beginning and the end of the 16th century. In addition there will be some articles copied from art history periodicals and a few provided in digital format which you can read on the computer. Each of you will be doing other reading on your individual artists. A major goal of the course will be to see how sixteenth-century art depends on Raphael and Michelangelo, and to a lesser extent on Leonardo. Art seems to develop in cycles. What happens after a moment of great innovations? Vasari, in his Lives of the Artists, seems to ask “where do we go from here?” If Leonardo, Raphael and Michelangelo were perfect, how does one carry on? The same thing occurred after Giotto and Duccio in the early Trecento.
    [Show full text]
  • Challenges Old and New
    Issue no. 23 - December 2015 CHALLENGES OLD AND NEW Our association was founded in defiance of the violent destruction of the Via dei Georgofili bombing. Twenty-two years have now passed since that initial collective reaction of civic pride and compensation, and over the years the kinship and solidarity between the Amici degli Uffizi and the Gallery’s executives has grown ever stronger. A unity matured in the last eight years also thanks to the presence and the essential, precious encouragement of director Antonio Natali. With him the Amici degli Uffizi’s patronage has become bold, to say the least: each and every restoration, exhibition, renovation, donation and intervention within the museum has always been a path of knowledge and enrichment, of shared visions and affections, a continuous challenge for new projects for the betterment of the museum. Natali involved us in the most arduous undertakings for a patron: from the past seemingly hopeless restorations of the Madonna della Gatta by Federico Barocci and of the Adoration of the Shepherds by Gerrit van Honthorst -reduced even today to a mere flash of light on the canvas – to the current restoration of the masterpiece Adoration of the Magi by Leonardo, we continue our mission to support the museum with unwavering determination, without any vanity nor expecting honors or returns, true to our vocation to support the artistic heritage of our museum. I could make a long list of accomplishments, a series of happy occasions and achievements attained by the profitable cooperation with our friend Natali. I prefer instead to remember our brief meetings stolen to the work routine to discuss projects and exhibit ideas; our trip to the United States in 2006 when our strong core of Florentine members was supplemented by the branch “Friends of the Uffizi Gallery”, that has since been gathering resources among generous American donors: our long discussions that have always resulted in a positive outcome, further acquisitions and enrichment of the artistic wealth of our museum.
    [Show full text]
  • Renaissance Theories of Vision Edited by John Hendrix, University of Lincoln, UK and Rhode Island School of Design and Roger Williams University, USA, and Charles H
    Renaissance Theories of Vision Edited by John Hendrix, University of Lincoln, UK and Rhode Island School of Design and Roger Williams University, USA, and Charles H. Carman, University at Buffalo, USA Visual Culture in Early Modernity December 2010 244 x 172 mm 258 pages Hardback 978-1-4094-0024-0 £65.00 Includes 18 b&w illustrations How are processes of vision, perception, and sensation conceived in the Renaissance? How are those conceptions made manifest in the arts? The essays in this volume address these and similar questions to establish important theoretical and philosophical bases for artistic production in the Renaissance and beyond. The essays also attend to the views of historically significant writers from the ancient classical period to the eighteenth century, including Plato, Aristotle, Plotinus, St Augustine, Ibn Sina (Avicenna), Ibn al-Haytham (Alhazen), Ibn Sahl, Marsilio Ficino, Nicholas of Cusa, Leon Battista Alberti, Gian Paolo Lomazzo, Gregorio Comanini, John Davies, Rene Descartes, Samuel van Hoogstraten, and George Berkeley. Contributors carefully scrutinize and illustrate the effect of changing and evolving ideas of intellectual and physical vision on artistic practice in Florence, Rome, Venice, England, Austria, and the Netherlands. The artists whose work and practices are discussed include Fra Angelico, Donatello, Leonardo da Vinci, Filippino Lippi, Giovanni Bellini, Raphael, Parmigianino, Titian, Bronzino, Johannes Gumpp and Rembrandt van Rijn. Taken together, the essays provide the reader with a fresh perspective on the intellectual confluence between art, science, philosophy, and literature across Renaissance Europe. Contents Introduction, John S. Hendrix and Charles H. Carman; Classical optics and the perspectivae traditions leading to the Renaissance, Nader El-Bizri; Meanings of perspective in the Renaissance: tensions and resolution, Charles H.
    [Show full text]
  • The Word Made Visible in the Painted Image
    The Word made Visible in the Painted Image The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Stephen Miller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8542-8 ISBN (13): 978-1-4438-8542-3 For Paula, Lucy and Eddie CONTENTS List of Illustrations ..................................................................................... ix Acknowledgements .................................................................................... xi Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Setting the Scene The Rise of Humanism and the Italian Renaissance Changing Style and Attitudes of Patronage in a Devotional Context The Emergence of the Altarpiece in
    [Show full text]
  • Lesson 09: Michelangelo- from High Renaissance to Mannerism
    East Tennessee State University Digital Commons @ East Tennessee State University Art Appreciation Open Educational Resource 2020 Lesson 09: Michelangelo- From High Renaissance to Mannerism Marie Porterfield Barry East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/art-appreciation-oer Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Editable versions are available for this document and other Art Appreciation lessons at https://dc.etsu.edu/art-appreciation-oer. Recommended Citation Barry, Marie Porterfield, "Lesson 09: Michelangelo- rF om High Renaissance to Mannerism" (2020). Art Appreciation Open Educational Resource. East Tennessee State University: Johnson City. https://dc.etsu.edu/art-appreciation-oer/10 This Book Contribution is brought to you for free and open access by Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Art Appreciation Open Educational Resource by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Michelangelo from High Renaissance to Mannerism” is part of the ART APPRECIATION Open Educational Resource by Marie Porterfield Barry East Tennessee State University, 2020 Introduction This course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook.
    [Show full text]