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The Varnish and the Glaze
"Both medieval panel painters and those working in the fifteenth century created works that evoke the glow of precious stones, the sheen of polished gold and silver, and the colorful radiance of stained glass. Yet their approach to rendering these materials is markedly different. Marjolijn Bol explores some of the reasons behind this radical transformation by telling the history of the two oil painting techniques used to depict everything that glistens and glows-the varnish and the glaze. For more than a century after his death, the fifteenth century painter Jan van Eyck was widely credited with the invention of varnish and oil paint, on account of his unique visual realism. This was a myth,...
The Genius of Rome, 1592-1623
Published to accompany one of the most exciting international art events of 2001, this magnificent volume explores the origins of the baroque style in Rome between 1592 and 1623...With over 300 full colour plates and twelve essays by leading scholars in the field, the catalogue is a significant landmark in art-historical publishing. The essays are illustrated with some of the most dramatic paintings of the early baroque, each with a discursive caption, and the catalogue includes biographies of fifty artists and an extensive bibliography. -- Dust jacket.
Renaissance Venice and the North
Over 700 wonderful reproductions capture the achievements of such artists as Cranach, Dürer, Titian and Bellini. Essays by an international panel of experts analyse the cultural and artistic crosscurrents between Renaissance artists, musicians and intellectuals in Venice and Northern Europe, revealing how both areas' distinctive styles had a lasting effect on each other while maintaining their own character. This vital dialogue produced an abundance of brilliant, forward-looking art.
Giambattista Tiepolo
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The Power of Color
This beautifully illustrated volume explores the history of color across five centuries of European painting, unfolding layers of artistic, cultural, and political meaning through a deep understanding of technique.
Private Lives in Renaissance Venice
"As the sixteenth century opened, members of the patriciate were increasingly withdrawing from trade, desiring to be seen as "gentlemen in fact" as well as "gentlemen in name." The author considers why this was so and explores such wide-ranging themes as attitudes toward wealth and display, the articulation of family identity, the interplay between the public and the private, and the emergence of characteristically Venetian decorative practices and styles of art and architecture. Brown focuses new light on the visual culture of Venetian women - how they lived within, furnished, and decorated their homes; what spaces were allotted to them; what their roles and domestic tasks were; how they dressed; how they raised their children; and how they entertained. Bringing together both high arts and low, the book examines all aspects of Renaissance material culture."--BOOK JACKET.
Painters of Reality
"Largely as a result of Leonardo's innovative work for the Sforza court in Milan, a rich vein of naturalism developed in North Italian art during the late fifteenth century. Questioning the strongly classicizing, idealized style dominant in areas south of the Apennines, artists in the region of Lombardy turned to an investigation of the natural world based on direct observation and adherence to strict visual truth. This heritage of realism continued to be of key importance for more than two hundred years, finding its greatest expression in the art of Caravaggio and eventually influencing the course of Baroque painting throughout Europe. Religious scenes, portraits, and landscapes were all tr...
Listening as Spiritual Practice in Early Modern Italy
The early seventeenth century, when the first operas were written and technical advances with far-reaching consequences—such as tonal music—began to develop, is also notable for another shift: the displacement of aristocratic music-makers by a new professional class of performers. In this book, Andrew Dell’Antonio looks at a related phenomenon: the rise of a cultivated audience whose skill involved listening rather than playing or singing. Drawing from contemporaneous discourses and other commentaries on music, the visual arts, and Church doctrine, Dell’Antonio links the new ideas about cultivated listening with other intellectual trends of the period: humanistic learning, contemplative listening (or watching) as an active spiritual practice, and musical mysticism as an ideal promoted by the Church as part of the Catholic Reformation.
