Guido Guerzoni presents the results of fifteen years of research into one of the more hotly debated topics among historians of art and of economics: the history of art markets. Dedicating equal attention to current thought in the fields of economics, economic history, and art history, Guerzoni offers a broad and far-reaching analysis of the Italian scene, highlighting the existence of different forms of commercial interchange and diverse kinds of art markets. In doing so he ranges beyond painting and sculpture, to examine as well the economic drivers behind architecture, decorative and sumptuary arts, and performing or ephemeral events. Organized by thematic areas (the ethics and psychology of consumption, an analysis of the demand, labor markets, services, prices, laws) that cover a large chronological period (from the 15th through the 17th century), various geographical areas, and several institution typologies, this book offers an exhaustive and up-to-date study of an increasingly fascinating topic."
The second largest city in 17th-century Europe, Naples constituted a vital Mediterranean center in which the Spanish Habsburgs, the clergy, and Neapolitan aristocracy, together with the resident merchants, and other members of the growing professional classes jostled for space and prestige. Their competing programs of building and patronage created a booming art market and spurred painters such as Jusepe de Ribera, Massimo Stanzione, Salvator Rosa, and Luca Giordano as well as foreign artists such as Caravaggio, Domenichino, Artemisia Gentileschi, and Giovanni Lanfranco to extraordinary heights of achievement. This new reading of 17th-century Italian Baroque art explores the social, material, and economic history of painting, revealing how artists, agents, and the owners of artworks interacted to form a complex and mutually sustaining art world. Through such topics as artistic rivalry and anti-foreign labor agitation, art dealing and forgery, cultural diplomacy, and the rise of the independently arranged art exhibition, Christopher R. Marshall illuminates the rich interconnections between artistic practice and patronage, business considerations, and the spirit of entrepreneurialism in Baroque Italy.
Few, if any, early modern European cities boasted a population as racially, ethnically, and religiously diverse as Renaissance Venice, from German merchants living in the Fondaco dei Tedeschi to the Jewish inhabitants of the Ghetto. This fascinating book focuses on the wealthy elite of that immigrant population. From monumental palaces to pictorial cycles, Blake de Maria examines the artistic patronage commissioned by and associated with rich immigrant merchants who relocated to Venice with the aim of becoming Venetian cittadini, or citizens.
As newcomers to the city, immigrant merchant families had to acquire the material commodities necessary for everyday life, and the need to establish an appropriate spiritual identity proved equally pressing. De Maria investigates important aspects of the artistic, commercial, and familial activities of naturalized citizen families, and considers the communal functions of this merchant clan, their social identity as naturalized citizens, their contributions to the fabric of early modern Venice, and their complex relationship with Venice's native population. Rich in new material and full of human interest, the book sheds light on a significant, hitherto little-known sector in Venetian artistic patronage.
The magnificent frescoes in chapels and town halls across Italy together represent one of the greatest achievements of Renaissance art. Commissioned both by private patrons and by the Church, artists responded with images of matchless beauty. Leading scholars treat the works selected for this series in their artistic and historical contexts; each cycle is illustrated with a complete set of the highest quality color reproductions.
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.
During the fifteenth century drawing developed from a subsidiary role in the production of finished paintings to an art form in its own right. In this beautiful book, Francis Ames-Lewis examines the works of the major draughtsmen of the century--Pisanello, Jacopo Bellini, Pollaiuolo, Ghirlandaio, Carpaccio, and Leonardo--in order to discuss the new types of drawing that evolved.
"Ames-Lewis's insight into his chosen subject-matters is impressive; so is his simple and lucid presentation. His enthusiasm and real feeling for these early draughtsmen are very infectious and will no doubt commend this book as a kind of primer for students."--Keith Andrews, Times Literary Supplement
"An important statement of theory about the drawing's emergence as a finished and autonomous work of art; it also offers succinct and enlightening description of the purposes, technique and limitations of drawings in silverpoint, pen and ink, chalk and brush, and as such it will assist and educate every collector concerned with this field."--Godfrey Baker, The Connoisseur
"This pioneering book . . . makes a persuasive case for the study of drawing as vital to a fuller understanding of Early Renaissance art."--Eve King, Art Book Review
Featuring some of Canada's foremost Baroque paintings, Illuminations studies the Baroque fascination with theatricality and visual spectacle in religious, mythological, and popular imagery. It explores how seventeenth-century audiences were confronted with pictures that frequently broke conventions by manipulating the sources and meaning of light while depicting all types of subjects.
Accompanies a travelling exhibition opening at the Art Gallery of Hamilton (Hamilton): February 28-May 31, 2015 and then moving to the Art Gallery of Alberta (Edmonton), June 26-October 12, 2015.
In a world where the remix culture is at the base of every great invention, King Kong, with their DIY philosophy did not literally invent anything, but in fact conceived something fresh, new and original by opening a window onto a whole new world of images, sensations and reconstructions. King Kong is a talented team, that despite being scattered around the world, chose to take on this extraordinary editorial project. By displaying the work of some of the most creative minds from around the globe, the book stunningly shows how different life paths and approaches merge together into a singular perspective of the streets. These artists are Giorgio Di Salvo, Camilla Donzella, Panda, Lele Saveri and Sha Ribiero and their project aims to exhibit personalities and to capture the emotion and cliches of a post-modern, post-political, and post-artistic first generation. This beautiful intersection of illustrations and photography is paired with an insightful introductory text by Federico Sarica. Exhibitions organizer Jaguar Shoes Collective dedicated to double K an exhibition to celebrate their collection as it represented a very real point of reference for that involuntary community of the Do It Yourself culture]. "
Featuring fifty masterworks by Mantegna, Giorgione, Titian, Veronese, and Tintoretto, this stunning book examines the brilliant painters who transformed the art of Renaissance Venice. Among the singular moments in the evolution of Western art, the Venetian Renaissance forged an artistic vocabulary of dazzling virtuosity. Celebrating the poetic potential of color and beauty observed in nature, Venetian painters of the fifteenth and sixteenth centuries transcended the spatial, textural, and emotional realism of their predecessors to create works unsurpassed in their sensual depictions, velvety surfaces, and unique and glorious treatment of light. Focusing on canonical works from Vienna’s Kunsthistorisches Museum (one of the world’s four great imperial museums, along with the Hermitage, the Louvre, and the Prado), this book’s lavish illustrations and illuminating essays offer a rich introduction to the treasures of the Venetian Renaissance. Among the spectacular artworks are Mantegna’s tortured Saint Sebastian, Titian’s enigmatic Bravo (The Assassin) and sumptuous Danäe, and a rare group of paintings by the elusive Giorgione, including Portrait of a Young Woman (Laura) and The Three philosophers. The book also includes exemplary works by Veronese, Palma ecchio, Bordone, and Bassano, among others, revealing the full range of Venetian accomplishment in the Renaissance era.