The Ugly Renaissance is a delightfully debauched tour of the sordid, gritty reality behind some of the most celebrated artworks and cultural innovations of all time.Tourists today flock to Italy by the millions to admire the stunning achievements of the Renaissance--paintings, statues, and buildings that are the legacy of one of the greatest periods of cultural rebirth and artistic beauty the world has ever seen. But beneath the elegant surface lurked a seamy, vicious world of power politics, perversity, and corruption. In this meticulously researched and lively portrait, Renaissance scholar Alexander Lee illuminates the dark and titillating contradictions that existed alongside the enlightened spirit of the time: the scheming bankers, greedy politicians, bloody rivalries, murderous artists, religious conflicts, rampant disease, and indulgent excess without which many of the most beautiful monuments of the Renaissance would never have come into being.
Art and the Religious Image in El Greco's Italy is the first book-length examination of the early career of one of the early modern period's most notoriously misunderstood figures. Born around 1541, Domenikos Theotokopoulos began his career as an icon painter on the island of Crete. He is best known, under the name "El Greco," for the works he created while in Spain, paintings that have provoked both rapt admiration and scornful disapproval since his death in 1614. But the nearly ten years he spent in Venice and Rome, from 1567 to 1576, have remained underexplored until now. Andrew Casper's examination of this period allows us to gain a proper understanding of El Greco's entire career and reveals much about the tumultuous environment for religious painting after the Council of Trent.
Art and the Religious Image in El Greco's Italy is a new book in the Art History Publication Initiative (AHPI), a collaborative grant from the Andrew W. Mellon Foundation. Thanks to the AHPI grant, this book will be available in popular e-book formats.
From one of Britain's most respected art historians, art critic of The Guardian--the galvanizing story of a sixteenth-century clash of titans, the two greatest minds of the Renaissance, working side by side in the same room in a fierce competition.In 1504, the informal rivalry between two of the most celebrated artists in Florence became a direct contest. Michelangelo was commissioned to paint a scene from the ancient battle of Cascina on a wall of the Palazzo Vecchio--in the same room where Leonardo da Vinci had already been commissioned to paint a scene from another great Florentine victory, the battle of Anghiari. As the paintings progressed, Michelangelo set out to prove that his work, not Leonardo's, embodied the future of art--but in fact, the influence of both would become visible in the works of subsequent generations of artists. The Lost Battles is a riveting look at one of history's most resonant exchanges of ideas and offers a whole new understanding of an age and those at its center.
Palazzo Strozzi hosts an extraordinary exhibition dedicated to Florentine art of the latter 1500s, the last act of a trilogy dedicated to 16th-century art in Florence, which began with Bronzino in 2010 and Pontormo and Rosso Fiorentino in 2014. The Cinquecento in Florence, confronts the development of Florentine art in the second half of the century through paintings and sculptures by artists including Andrea del Sarto, Bronzino, Pontormo, Giorgio Vasari, Giambologna, Bartolomeo Ammannati and Santi di Tito. The exhibition, and this accompanying catalogue, also provides the opportunity to restore important works of art and to construct a wide network of collaboration between museums, cultural institutions and Florentine and Tuscan sites. The result is a celebration of an exceptional cultural epoch of intellectual inspiration marked by the Council of Trent during the Counter-Reformation, and by Francesco I de'Medici, one of the most brilliant representatives of courtly patronage in Europe.
These biographies of the great quattrocento artists have long been considered among the most important of contemporary sources on Italian Renaissance art. Vasari, who invented the term "Renaissance," was the first to outline the influential theory of Renaissance art that traces a progression through Giotto, Brunelleschi, and finally the titanic figures of Michaelangelo, Da Vinci, and Raphael. This new translation, specially commissioned for the World's Classics series, contains thirty-six of the most important lives and is fully annotated.
What do Renaissance poetry and painting have in common? What are the social, ideological, and aesthetic bases for the links between them? And what role do those links play in creating the humanistic culture that still has power over us today?These are the questions Clark Hulse takes up in this sophisticated interdisciplinary study of Renaissance aesthetics. Proposing an archeology of artistic knowledge, Hulse examines the theoretical language through which the poets, painters, and patrons of the Renaissance conceived of the relationship between the arts. That language is embedded in what he calls a rule of art, a specific set of categories, assumptions, and practices that defined the two art forms and the relationship between them. Hulse charts the rise of both forms to the status of liberal arts requiring special intellectual training for artist and patron alike. In the process, he uncovers the history of the practice of theory in the Renaissance, revealing how artistic discourse lived in the world.
The Rule, the Bible, and the Council focuses on the decoration of a Benedictine library conceived and executed within a few years of the conclusion of the Council of Trent. The Abbey at Praglia, near Padua, commissioned work from Paolo Veronese and Tintoretto as well as Battista Zelotti. The authors reconstruct the 16th-century library room using physical, on-site evidence, extant documents concerning the furnishings, measurements of the paintings, and early descriptions to re-create with computer technology the room furnished and decorated in 1562 -- ca. 1570. Zelotti's 24 paintings on canvas for the Library at Praglia show a sensitive and clear articulation of the doctrinal intent planned by the erudite Benedictine patrons.
In this story - told mainly in pictures - historian and Mona Lisa scholar Donald Sassoon offers us an intimate look at the painting's history and at the genius who gave the Mona Lisa lasting life.
A fascinating story of the impact of the rediscovery of antique objects, long-forgotten and often physically buried, on the consciousness and art of 15th- and 16th-century Rome. Barkan brings to life the inspired attempts to bridge the huge gap between ancient and Renaissance Rome, a rebirth which not only transformed art but also poetry and history. Stories of the rediscovery of statues such as the Lacoon and the Torso Belvedere is accompanied by extracts of Roman descriptions of statues and art as well as Renaissance accounts of uncovering them and their attempts to understand them. Finally, Barkan examines the influence of sculptures on specific Renaissance artists and works, notably Bandinelli.