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Gothic and Renaissance Altarpieces
In the mid-15th century, when the tradition styles and techniques of the Middle Ages were yielding to the new influences of the Renaissance, the altarpieces of cathedrals and major churches reached a degree of elaboration never seen before. For a century or so altarpieces had been constructed so that they could be closed or open (for saints' days and festivals), often in three parts (triptychs), with two wings folding over the centre. This scheme was now expanded: panels were arranged sometimes in two tiers which could open separately. The three-part stucture could grow to five and even seven. In the most extreme case, Grunewald's Isenheim Altarpiece, there was an unprecedented number of possibilities - a sort of theological hierarchy, with panels opening to reveal deeper and deeper mysteries.
The Italian Renaissance Altarpiece
The altarpiece is one of the most distinctive and remarkable art forms of the Renaissance period. It is difficult to imagine an artist of the time--whether painter or sculptor, major or minor--who did not produce at least one. Though many have been displaced or dismembered, a substantial proportion of these works still survive. Despite the volume of material available, no serious attempt has ever been made to examine the whole subject in depth until now. The Italian Renaissance Altarpiece is the first comprehensive study of the genre to examine its content and subject matter in real detail, from the origins of the altarpiece in the 13th century to the time of Caravaggio in the early 1600s. It discusses major developments in the history of these objects throughout Italy, covers the three key categories of Renaissance altarpiece--"immagini" (icons), "historie" (narratives), and "misteri" (mysteries)--and is illustrated with 250 beautiful reproductions of the artworks.
The Altarpiece in Renaissance Venice
The painting and carving of altarpieces was one of the most important and characteristic tasks of Italian Renaissance artists.
The Altarpiece in Renaissance Italy
An illustrated book on the religious altarpieces of the Italian Renaissance. Written in 1898, these essays reveal how the altarpieces were not only beautiful creations but were also the product of developments in painting.
Augustinian Art and Meditation in Renaissance Florence
In Augustinian Art and Meditation in Renaissance Florence, Antonia Fondaras reunites the fifteenth-century altarpieces---including works by Botticelli, Piero di Cosimo, and Filippino Lippi---first commissioned for the choir of the Augustinian church of Santo Spirito in Florence. Departing from a conventional focus on artist and patron, the author illuminates the engagement of the Augustinian Hermit friars with the composition and iconography of the altarpieces and the role of those works in fashioning a choir space that serves the friars' institutional and spiritual ideals. Fondaras includes a close reading of the choir's most compelling and original altarpieces, which reveals the institution of a sophisticated meditational practice focused on those paintings and grounded in the thinking of Augustine.
Great Altarpieces
"Alas, few of the great polyptychs, wonderful as they are, survive in their original form or place of installation, having suffered the vicissitudes of history, as the authors explain in detail, particularly the misadventures that followed upon the secularization laws promulgated by Napoleon in the late 18th century. Along with this story and countless others comes the extended series of full-color illustrations, over 400 in all, many of them full-page and full-bleed.
From Duccio's Maestà to Raphael's Transfiguration
Christa Gardner von Teuffel's studies of Italian altarpieces have provided fundamental insights concerning the original structure and setting of some of the canonical monuments of Italian late medieval and Renaissance painting. Studies of panel type and frame architecture are combined with an investigation of original sites. Archival discoveries at Florence and Palermo have led to a new assessment of institutional patronage and private benefaction, and illuminated the formulation of altarpiece programmes, such as Perugino's Vallombrosan Assumption and Raphael's Lo Spasimo. These essays contribute enduringly to our understanding of contractual obligation, design process and altarpiece install...
Andrea del Sarto: Splendor and Renewal in the Renaissance Altarpiece
Over the course of his career, Andrea del Sarto (1486–1530) created altarpieces rich in theological complexity, elegant in formal execution, and dazzlingly brilliant in chromatic impact. This book investigates the spiritual dimensions of those works, focusing on six highly-significant panels. According to Steven J. Cody, the beauty and splendor of Andrea’s paintings speak to a profound engagement with Christian theories of spiritual renewal—an engagement that only intensified as Andrea matured into one of the most admired artists of his time. From this perspective, Andrea del Sarto — Splendor and Renewal in the Renaissance Altarpiece not only shines new light on a painter who has long deserved more scholarly attention; it also offers up fresh insights regarding the Renaissance altarpiece itself.
Frame Work
Frame Work explores how framing devices in the art of Renaissance Italy respond, and appeal, to viewers in their social, religious, and political context.
