Art mattered in the Renaissance A glance at the pages of Art in Renaissance Italy shows at once its freshness and breadth of approach, which includes thorough explanation into how and why works of art, buildings, prints, and other forms of visual production came to be. The authors also discuss how men and women of the Renaissance regarded art and artists, why works of Renaissance art look the way they do, and what this means to us. Unlike other books on the subject, this one covers not only Florence and Rome, but also Venice and the Veneto, Assisi, Siena, Milan, Pavia, Padua, Mantua, Verona, Ferrara, Urbino, and Naples—each governed in a distinctly different manner, every one with individual, political, and social structures that inevitably affected artistic styles. Spanning more than three centuries, the narrative brings to life the rich tapestry of Italian Renaissance society and the art that is its enduring legacy. Throughout, special features, including textual sources from the period and descriptions of social rituals, evoke and document the people and places of this dynamic age.
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He has published widely on the patronage of the Medici family in Florence and on Michelangelo. He has also written on art since Gary M. He has published on 13th-century Italian architecture, 15th-century sculpture, and the patronage of nuns in Renaissance Venice. Read an Excerpt For four centuries the history of art produced in Renaissance Italy has been presented as a series of biographies of individual artists.
Italian Renaissance artists were no more solitary geniuses than are most architects and commercial artists today. They understood that they might gain personal recognition and fame from their creations. Many specialized studies and a number of more geographically and chronologically limited books have used such an approach. This volume, however, provides a comprehensive, fully illustrated, pan-Italian consideration of art from the thirteenth through the sixteenth century.
We have broadened our consideration of the diverse traditions of cities throughout Italy, rather than focusing primarily on Florence which has too often been used to make other centers, even well-recognized ones such as Venice and Rome, seem like cultural and artistic satellites of the Tuscan capital. Expanded geographic and stylistic parameters provide a richer picture of art produced in renaissance Italy, including works of Florentine art that have previously been accorded marginal or problematic status.
We have also rejected rigid separation of the arts by media, preferring to discuss painting, sculpture, and architecture as complementary arts, recognizing that most artists worked in a variety of forms and that they and their patrons regularly thought in terms of ensembles, not isolated masterpieces.
To set our selected works of art more firmly into their original historical fabric, we have added several special features to this book.
Wherever possible, captions indicate the patron as well as the artist who created the work. In this book we hope to make the familiar seem more intriguing and the unfamiliar more comprehensible.
The picture we present necessarily includes a recognition of the ambiguities and paradoxes inherent in reconstructing past events. Chronological boundaries for each chapter are somewhat arbitrary, like all such divisions, but in general they reflect sociopolitical shifts caused by changes of governmental structures or rulers in the various cities covered.
Thus the dates in the chapter titles are approximate and have to be adjusted for each of the city-states discussed. Such "omissions," in tandem with the addition of unusual works of art, are inevitable in a book that attempts to change the very mode of presentation of the material by expanding its scope. We hope that readers will see in our selections a manifestation of the truly challenging intellectual and artistic richness of the Renaissance. The intention of this book is to provoke questions about approach and stylistic development, not to provide a new canon.
We are living in a particularly vital time in historical thinking, when old prescriptive boundaries have been breached. It is critically important to participate in the adventure of these changes.
As is the case with most books of this nature, we have not footnoted the text. However, we have included a bibliography at the end, thereby recording the main source materials we have used and our profound debt to earlier scholars.
This bibliography could well be treated as a guide to further reading and understanding of the art and ideas presented in the book. We have also provided a glossary of technical terms which are highlighted in the text in boldface type.
Art in Renaissance Italy, 4th edition
Looking for beautiful books? Commune and Guild Spanning more than three centuries, this beautiful and authoritative work brings to life the rich tapestry of Italian Renaissance society and the art works that are its enduring legacy. Check out the top wrt of the year on our page Best Books of This revised edition contains around new pictures and nearly all colour images. Paoletti : It was sent to me brand new in my eyes because if the great condition it was in. Moro and a Grand Classical Style. Throughout, special features, including textual sources from the period and descriptions of social rituals, evoke and document the people and places of this dynamic age.
ART IN RENAISSANCE ITALY PAOLETTI PDF
People expected painting, sculpture, architecture, and other forms of visual art to have a meaningful effect on their lives, " write the authors of this important new look at Italian Renaissance art. A glance at the pages of Art in Renaissance Italy shows at once its freshness and breadth of approach, which includes thorough explanation into how and why works of art, buildings, prints, and other kinds of art came to be. This book discusses how men and women of the Renissance regarded art and artists as well as why works of Renaissance art look the way they do, and what this means to us. It covers not only Florence and Rome, but also Venice and the Veneto, Assisi, Siena, Milan, Pavia, Padua, Mantua, Verona, Ferrara, Urbino, and Naples -- each governed in a distinctly different manner, every one with its own political and social structures that inevitably affected artistic styles.