ARTH 428 Renaissance Art

This book offers a wide-ranging introduction to the way that art was made, valued, and viewed in northern Europe in the age of the Renaissance, from the late fourteenth to the early years of the sixteenth century. Drawing on a rich range of sources, from inventories and guild regulations to poetry and chronicles, it examines everything from panel paintings to carved altarpieces. Throughout, Nash challenges the perception that Italy was the European leader in artistic innovation at this time, demonstrating forcefully that Northern art, and particularly that of the Southern Netherlands, dominated visual culture throughout Europe in this crucial period.

Richly illustrated, and featuring detailed descriptions of works by pivotal figures in the Italian Renaissance, this enlightening volume traces the development of art and architecture throughout the Italian peninsula in the fifteenth and sixteenth centuries. Focuses on Renaissance art and architecture as it developed throughout the Italian peninsula, from Venice to Sicily and situates the Italian Renaissance in the wider context of the history of art

Encompassing the entire continent, Renaissance Architecture examines the rich variety of buildings that emerged during these seminal centuries of European history. Although marked by the rise of powerful individuals, both patrons and architects, the Renaissance was equally a time of growing group identities and communities - and architecture provided the public face to these new identities . Religious reforms in northern Europe, spurred on by Martin Luther,rejected traditional church function and decoration, and proposed new models. Political ambitions required new buildings to satisfy court rituals. Territory, nature, and art intersected to shape new landscapes and building types.

Giles Knox examines how El Greco, Velaìzquez, and Rembrandt, though a disparate group of artists, were connected by a new self-consciousness with respect to artistic tradition. In particular, Knox considers the relationship of these artists to the art of Renaissance Italy, and sets aside nationalist art histories in order to see the period as one of fruitful exchange.

The fourteen essays in this collection explore the dominance of patronage in Renaissance politics, religion, theatre, and artistic life. Originally published in 1982.

A broad survey of art and architecture in Italy between c. 1250 and 1600, this book approaches the works from the point of view of the artist as individual creator and as an expression of the city within which the artist was working.

'Art', declared Vasari in Lives of the Artists, has been reborn and reached perfection in our time'. Indeed the roster of great names in painting of the Cinquecento, which only begins with those of Leonardo, Michelangelo, and Raphael, appears to justify this grand claim. Professor Freedberg here discusses the individual painters and analyses the hallmarks of their work. He traces the classical style of the High Renaissance, the Mannerism that succeeded it, and the events, in North Italy especially, that resist stylistic categories.

The book opens with the late Byzantine work of Cimabue and concludes with the transition to Mannerism. The author's focus is on the most important and innovative artists and their principal works, with a clear emphasis on selectivity and understanding. Italian Renaissance Art also focuses on style and iconography, and on art and artists, incorporating different methodological approaches to create a wider understanding and appreciation of the art.

Explores some of the circumstances of Renaissance art, such as why it was created and who commissioned the palaces, cathedrals, paintings, and sculptures.

Through close examination of Renaissance paintings, drawings, book illustrations, and other art works, Patricia Fortini Brown brings fourteenth and fifteenth century Venice alive. She explores the role of the guilds and the nobility, the unique island setting, the environment of the church and the private home, the political rivalries with other states, the taste for symbols and metaphors, the myriad qualities that made Venice distinct and its art unique.

In this absorbing illustrated history, Loren Partridge takes the reader on an insightful tour of Renaissance Florence and sheds new light on its celebrated art and culture by examining the city's great architectural and artistic achievements in their political, intellectual, and religious contexts. This essential and accessible text, the only up-to-date volume on Renaissance Florence currently available, incorporates insights from recent scholarship, including gender studies, while emphasizing the artists' social status, rivalries, and innovations. The result is a multilevel exploration of how the celebrated Florentine culture formally registers in specific works of art or architecture and how these works interactively informed and often shaped the culture.

Examines the period of cultural, artistic, and intellectual blossoming in Florence from 1400 to 1520--the period traditionally known as the Early and High Renaissance. Key works of art--from painting, sculpture, and architecture to illuminated manuscripts--by artists such as Michelangelo, Donatello, Botticelli, and Brunelleschi are showcased alongside the unexpected and less familiar.

Discussion of major political entities; Burgundian court, Holy Roman Empire, French and English monarchies, German cities and duchies; their relative power and prestige over time, their particularly make-up and artistic concern; the importance of ephemeral art in aristocratic circles. Also includes discussion of social and economic developments over two centuries; the position of the Catholic church and general characteristics and evaluation of intellectual life in 15th and 16th centuries

Presents stylistic and iconographical themes, art historical scholarship, and valuable analyses. A three-part organization covers international currents in the Fourteen Century, Fifteenth-Century Innovations, and Renaissance and Reformation in the Sixteenth Century.

An anthology of source material arranged by countries. The selected passages are in roughly chronological sequence and are linked by bridge passages that provide a preparation for the extract.

Based on the symposium "The Renaissance court artist" held at the Isabella Stewart Gardner Museum, Boston, Mar. 2, 2002.

The relationship between artists and their patrons has always been a complex and fascinating one. This is especially true of the Habsburg rulers of the 16th and 17th centuries, not only because they are themselves of intrinsic interest, but because the artists whom they encouraged or employed – Dürer, Titian, El Greco, Rubens – were among the greatest of all times.

"Although it is hardly a new idea that the development of Italian painting in the period between 1200 and 1600 was shaped by the shifting requirements of its patrons, Kempers has articulated a useful schema for analyzing the interaction of this professionalization of painting and the artistic needs of evolving urban societies. Thus, the patronage of painting is set into social frameworks dominated sequentially by mendicant orders, civic authorities, merchant families, and papal and aristocratic courts. " -Library Journal

Mary Hollingsworth shows how the patron--rather than the artist--carefully controlled both subject and medium in artistic creation. In a competitive and violent age, she explains, image and ostentation were essential statements of the patron's power. As a result, perceived cost became more important than artistic quality (and buildings, bronze, or tapestry were considered more eloquent statements than cheaper marble or fresco). Artists in the early Renaissance were employed as craftsmen, Hollingsworth concludes, and only late in the century did their relations with patrons start to adopt a pattern we might recognize today.

This is a pioneering study of the commissioning powers of a large group of Italian laywomen. In a sequence of case-studies, Catherine E. King surveys the kinds of art and architecture which these laywomen could commission, and by probing how far female patrons could express any non-conformist views or play unexpected roles in their art, she builds up a picture of the legal, social, financial and spiritual factors which made it possible for women to act as patrons in this society.

Disc 1. Raphael ; Michelangelo ; Fra Angelico --Disc 2. Piero della Francesca ; Caravaggio ; Tintoretto --Disc 3. Van Dyck ; Bernardo Strozzi ; Giotto.

8 videodiscs in set: Lecture 11. Early Renaissance sculpture in Florence ; Lecture 12. Early Renaissance architecture in Florence. Part II : Lecture 13. Masaccio and Early Renaissance painting ; Lecture 14. Jan van Eyck and Northern Renaissance art ; Lecture 15. Northern Renaissance altarpieces ; Lecture 16. Piero della Francesca in Arezzo ; Lecture 17. Sandro Botticelli ; Lecture 18. Andrea Mantegna and Giovanni Bellini --Lecture 19. High Renaissance painting in Venice ; Lecture 20. The High Renaissance: Leonardo da Vinci ; Lecture 21. The High Renaissance: Raphael ; Lecture 22. The High Renaissance: Michelangelo ; Lecture 23. Albrecht D̈ürer and German Renaissance art ...