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Venice
Venice was a major centre of art in the Renaissance: the city where the medium of oil on canvas became the norm. The achievements of the Bellini brothers, Carpaccio, Giorgione, Titian, Tintoretto and Veronese are a key part of this story. Nowhere else has been depicted by so many great painters in so many diverse styles and moods. Venetian views were a speciality of native artists such as Canaletto and Guardi, but the city has also been represented by outsiders: J. M. W. Turner, Claude Monet, John Singer Sargent, Howard Hodgkin, and many more.Then there are those who came to look at and write about art. The reactions of Henry James, George Eliot, Richard Wagner and others enrich this tale. N...
The Lost Venetian Church of Santa Maria Assunta dei Crociferi
Version: 1.1.2 DOI: 10.5281/zenodo.4284460 Original Repository (Zenodo): https://doi.org/10.5281/zenodo.4094821 This book investigates the history and decoration of one of the most important churches of Venice in the 16th century: Santa Maria Assunta dei Crociferi. Painters and sculptors of the stature of Titian, Tintoretto, Veronese, Palma il Giovane, Vittoria and Campagna all contributed major works of art, many of which survive in the present-day church of the Gesuiti. But as a result of the suppression of the order of the Crociferi (Crosiers, or Crutched Friars) in 1656, and of the subsequent demolition of their church, the art-historical significance of this ensemble had become largely ...
Lives of Tintoretto
Born Jacopo Comin, Tintoretto (ca. 1519–1594) was one of the great painters of the late Renaissance. This book presents the first biographies of Tintoretto, by Giorgio Vasari and Carlo Ridolfi, as well as accounts from individuals who knew the artist personally. This volume also includes a translation of the marginal notes El Greco wrote in his copy of Vasari’s Life of Tintoretto, which have never before been published. Richly illustrated, with an introduction by the scholar Carlo Corsato that reconstructs Tintoretto’s career and contextualizes the contemporary sources, Lives of Tintoretto enhances our understanding of this influential Renaissance artist, who helped establish the Mannerist style.
Lives of Titian
Biographical accounts by several of Titian’s contemporaries, including Giorgio Vasari, Pietro Aretino, and Raffaele Borghini, trace the fascinating and prolific life of this master of the Italian Renaissance. As the most important member of the sixteenth-century Venetian school, Titian (ca. 1488–1576) reached a level of professional success rivaled only by Raphael, Michelangelo, and, later, Rubens. He was sought after by a range of patrons from Venice as well as northern Italian princes and, eventually, the papacy. Titian’s painting methods, particularly his use of color, influenced not only painters of the Renaissance but also future generations of Western artists. This richly illustrated volume also includes comments on Titian by El Greco.
Paolo Veronese
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Lomazzo’s Aesthetic Principles Reflected in the Art of his Time
An exploration of the influence of the charismatic Milanese art theorist on his contemporaries in the field of drawing, painting, printmaking, decorative arts, and sculpture.
Jacopo Tintoretto: Identity, Practice, Meaning
Over the past twenty years or so it has finally been understood that Jacopo Tintoretto (1518/19-1594) is an old master of the very highest calibre, whose sharp visual intelligence and brilliant oil technique provides a match for any painter of any time. Based on papers given at a conference held at Keble College, Oxford, to mark the quincentenary of Tintoretto’s birth, this volume comprises ten new essays written by an international range of scholars that open many fresh perspectives on this remarkable Venetian painter. Reflecting current ‘hot spots’ in Tintoretto studies, and suggesting fruitful avenues for future research, chapters explore aspects of the artist’s professional and social identity; his graphic oeuvre and workshop practice; his secular and sacred works in their cultural context; and the emergent artistic personality of his painter-son Domenico. Building upon the opening-up of the Tintoretto phenomenon to less fixed or partial viewpoints in recent years, this volume reveals the great master’s painting practice as excitingly experimental, dynamic, open-ended, and original.
Apprenticeship, Work, Society in Early Modern Venice
Apprenticeship in early modern Europe has been the subject of important research in the last decades, mostly by economic historians; but the majority of the research has dealt with cities or countries in Northern Europe. The organization, evolution and purpose of apprenticeship in Southern Europe are much less studied, especially for the early modern period. The research in this volume is based on a unique documentary source: more than 54,000 apprenticeship contracts registered from 1575 to 1772 by the "Old Justice", a civil court of the Republic of Venice in charge of guilds and labour disputes. An archival source of such scale provides a unique opportunity to historians, and this is the fi...
The Museum in the Digital Age
The current “digital revolution” or “digital era” has affected most of the realms of today’s world, particularly the domains of communication and the creation, safeguarding and transmission of knowledge. Museums, whose mission is to be open to the public and to acquire, conserve, research, communicate and exhibit the heritage of humanity, are thus directly concerned by this revolution. This collection highlights the manner in which museums and curators tackle the challenges of digital technology. The contributions are divided into four groups that illustrate the extent of the impact of digital technologies on museums: namely, exhibitions devoted to new media or mounted with the use of new media; the hidden face of the museum and the conservation of digital works of art; cultural mediation and the communication and promotion of museums using digital tools; and the legal aspects of the digitalisation of content, whether for creative purposes or preservation.
Making and Moving Sculpture in Early Modern Italy
In recent years, art historians have begun to delve into the patronage, production and reception of sculptures-sculptors' workshop practices; practical, aesthetic, and esoteric considerations of material and materiality; and the meanings associated with materials and the makers of sculptures. This volume brings together some of the top scholars in the field, to investigate how sculptors in early modern Italy confronted such challenges as procurement of materials, their costs, shipping and transportation issues, and technical problems of materials, along with the meanings of the usage, hierarchies of materials, and processes of material acquisition and production. Contributors also explore the implications of these facets in terms of the intended and perceived meaning(s) for the viewer, patron, and/or artist. A highlight of the collection is the epilogue, an interview with a contemporary artist of large-scale stone sculpture, which reveals the similar challenges sculptors still encounter today as they procure, manufacture and transport their works.
