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Art of the High Renaissance
A survey, illustrated by representative works, of the major developments in art and architecture during the latter half of the 15th and the first half of the 16th centuries.
Rethinking the High Renaissance
The perception that the early sixteenth century saw a culmination of the Renaissance classical revival - only to degrade into mannerism shortly after Raphael's death in 1520 - has been extremely tenacious; but many scholars agree that this tidy narrative is deeply problematic. Exploring how we can reconceptualize the High Renaissance in a way that reflects how we research and teach today, this volume complicates and deepens our understanding of artistic change. Focusing on Rome, the paradigmatic centre of the High Renaissance narrative, each essay presents a case study of a particular aspect of the culture of the city in the early sixteenth century, including new analyses of Raphael's stanze, Michelangelo's Sistine Ceiling and the architectural designs of Bramante. The contributors question notions of periodization, reconsider the Renaissance relationship with classical antiquity, and ultimately reconfigure our understanding of 'high Renaissance style'.
High Renaissance Art in St. Peter's and the Vatican
Michelangelo, Raphael, Bramante—together these artists created some of the most glorious treasures of the Vatican, viewed daily by thousands of tourists. But how many visitors understand the way these artworks reflect the passions, dreams, and struggles of the popes who commissioned them? For anyone making an artistic pilgrimage to the High Renaissance splendors of the Vatican, George L. Hersey's book is the ideal guide. Before starting the tour of individual works, Hersey describes how the treacherously shifting political and religious alliances of sixteenth-century Italy, France, and Spain played themselves out in the Eternal City. He offers vivid accounts of the lives and personalities ...
Low and High Style in Italian Renaissance Art
During the later 15th and in the 16th centuries pictures began to be made without action, without place for heroism, pictures more rueful than celebratory. In part, Renaissance art adjusted to the social and economic pressures with an art we may be hard pressed to recognize under that same rubric-an art not so much of perfected nature as simply artless. Granted, the heroic and epic mode of the Renaissance was that practiced most self-consciously and proudly. Yet it is one of the accomplishments of Renaissance art that heroic and epic subjects and style occasionally made way for less affirmative subjects and compositional norms, for improvisation away from the Vitruvian ideal. The limits of i...
The Culture of the High Renaissance
Between 1480 and 1520, a concentration of talented artists, including Melozzo da Forlì, Bramante, Pinturicchio, Raphael, and Michelangelo, arrived in Rome and produced some of the most enduring works of art ever created. This period, now called the High Renaissance, is generally considered to be one of the high points of Western civilisation. How did it come about, and what were the forces that converged to spark such an explosion of creative activity? In this study, Ingrid Rowland examines the culture, society, and intellectual norms that generated the High Renaissance. This interdisciplinary 2001 study assesses the intellectual paradigm shift that occurred at the turn of the fifteenth century. It also finds and explains the connections between ideas, people, and the art works they created by looking at economics, art, contemporary understanding of classical antiquity, and social conventions.
The High Renaissance Italian Painting
Essays on the period, illustrated by the works of famous artists.
Rethinking the High Renaissance
"The perception that the early sixteenth century saw a culmination of the Renaissance classical revival - only to degrade into mannerism shortly after Raphael's death in 1520 - has been extremely tenacious; but many scholars agree that this tidy narrative is deeply problematic. Exploring how we can reconceptualize the High Renaissance in a way that reflects how we research and teach today, this volume complicates and deepens our understanding of artistic change. Focusing on Rome, the paradigmatic centre of the High Renaissance narrative, each essay presents a case study of a particular aspect of the culture of the city in the early sixteenth century, including new analyses of Raphael's stanze, Michelangelo's Sistine Ceiling and the architectural designs of Bramante. The contributors question notions of periodization, reconsider the Renaissance relationship with classical antiquity, and ultimately reconfigure our understanding of 'high Renaissance style'."--Provided by publisher.
Moral Essays on the High Renaissance
Moral Essays on the High Renaissance consist of critical essays on the art and thought of major figures of sixteenth-century Italian Renaissance art. Looking at these artists from an ethical point of view, these provocative essays set out to discover and describe the moral basis of High Renaissance art. Important areas of focus include the paintings and sculpture of Michelangelo, the artistic style and sense of the life of Raphael, and the ethical approach of the Cinquecento biographer Giorgio Vasari. Consideration is given also to the worldly, graceful art of Leonardo da Vinci and the painterly hedonism of the Venetians. The volume concludes with a semi-autobiographical essay that restates the underlying moral principles behind the earlier chapters. The book is well illustrated with numerous black-and-white reproductions of important works of High Renaissance art and architecture.
