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Hybridity in Early Modern Art
This collection of essays explores hybridity in early modern art through two primary lenses: hybrid media and hybrid time. The varied approaches in the volume to theories of hybridity reflect the increased presence in art historical scholarship of interdisciplinary frameworks that extend art historical inquiry beyond the single time or material. The essays engage with what happens when an object is considered beyond the point of origin or as a legend of information, the implications of the juxtaposition of disparate media, how the meaning of an object alters over time, and what the conspicuous use of out-of-date styles means for the patron, artist, and/or viewer. Essays examine both canonical and lesser-known works produced by European artists in Italy, northern Europe, and colonial Peru, ca. 1400–1600. The book will be of interest to art historians, visual culture historians, and early modern historians.
The Brera Gallery
This is the first official guide to Italy's first public museum, the Milan home of famous paintings by Bellini, Mantegna, Piero della Francesca, Raphael, Tintoretto, and Veronese. Room by room, wall by wall, this guide gives detailed information about this magnificent permanent collection spanning the 13th to 20th centuries. The introduction by the Museum Director, Luisa Arrigoni, gives the history of Pinacoteca di Brera.
Conservation
* Conservation ethics and principles, such as minimum intervention, integrity and authenticity of an object, addressed from a wide range of professional and academic viewpoints, including contributions from curators, museology theorists and philosophers * Theory and principles presented and analysed both from a Western perspective and outside the boundaries of North America and Europe * Brings together conservation theory relevant to collections, historic buildings, monuments and archaeological sites
The Endless Periphery
While the masterpieces of the Italian Renaissance are usually associated with Italy’s historical seats of power, some of the era’s most characteristic works are to be found in places other than Florence, Rome, and Venice. They are the product of the diversity of regions and cultures that makes up the country. In Endless Periphery, Stephen J. Campbell examines a range of iconic works in order to unlock a rich series of local references in Renaissance art that include regional rulers, patron saints, and miracles, demonstrating, for example, that the works of Titian spoke to beholders differently in Naples, Brescia, or Milan than in his native Venice. More than a series of regional microhistories, Endless Periphery tracks the geographic mobility of Italian Renaissance art and artists, revealing a series of exchanges between artists and their patrons, as well as the power dynamics that fueled these exchanges. A counter history of one of the greatest epochs of art production, this richly illustrated book will bring new insight to our understanding of classic works of Italian art.
Sofonisba's Lesson
"Within a span of seven or eight years in the 1550s, the Italian painter Sofonisba Anguissola produced more self-portraits than any known painter before her had in a lifetime. She was the first known artist in history to take her parents and siblings as primary subject matter, and may have painted the first group portrait featuring only women. Cole examines Sofonisba's paintings as expressions of her relationships and networks, looking at why Sofonisba was able to become a great woman artist: at her father, who decided to allow her to be educated as a painter; at her teacher, Bernardino Campi; and at her relationships with her students, sisters, and patrons, who included the Queen of Spain. Cole demonstrates that Sofonisba made teaching and education a central theme of her painting. The book also provides the first complete catalogue of all of Sofonisba's known works"--
From Filippo Lippi to Piero Della Francesca
In doing so, it examines the art of Florence in the 1440s and the work of, among others, Fra Filippo Lippi, Domenico Veneziano, Luca della Robbia, and Michelozzo."--BOOK JACKET.
Researching Visual Arts Education in Museums and Galleries
Researching Visual Arts Education in Museums and Galleries brings together case studies from Europe, Asia and North America, in a way that will lay a foundation for international co-operation in the future development and communication of practice-based research. The research in each of the cases directly stems from educational practice in very particular contexts, indicating at once the variety and detail of practitioners' concerns and their common interests.
The Wrightsman Pictures
This lavish catalogue presents 150 European paintings, pastels, and drawings from the late fifteenth to the mid-nineteenth century that have been given to the Metropolitan Museum by Mr. and Mrs. Charles Wrightsman or are still held in Mrs. Wrightsman's private collection. These notable works were collected over the past four decades, many of them with the Museum in mind; some were purchased by the Museum through the Wrightsman Fund. Highlights of the book include masterpieces by Vermeer, El Greco, Rubens, Van Dyck, Georges de La Tour, Jacques-Louis David, and Caspar David Friedrich as well as numerous paintings by the eighteenth-century Venetian artists Canaletto, Guardi, and the Tiepolos, father and son, plus a dozen remarkable portrait drawings by Ingres. Each work is reproduced in color and is accompanied by a short essay.
St. Catherine of Alexandria in Renaissance Roman Art
How and why did a medieval female saint from the Eastern Mediterranean come to be such a powerful symbol in early modern Rome? This study provides an overview of the development of the cult of Catherine of Alexandria in Renaissance Rome, exploring in particular how a saint's cult could be variously imaged and 'reinvented' to suit different eras and patronal interests. Cynthia Stollhans traces the evolution of the saint's imagery through the lens of patrons and their interests-with special focus on the importance of Catherine's image in the fashioning of her Roman identity-to show how her imagery served the religious, political, and/or social agendas of individual patrons and religious orders.
Giovanni Bellini
Praised by Albrecht Dürer as being “the best in painting,” Giovanni Bellini (ca. 1430– 1516) is unquestionably the supreme Venetian painter of the quattrocento and one of the greatest Italian artists of all time. His landscapes assume a prominence unseen in Western art since classical antiquity. Drawing from a selection of masterpieces that span Bellini's long and successful career, this exhibition catalogue focuses on the main function of landscape in his oeuvre: to enhance the meditational nature of paintings intended for the private devotion of intellectually sophisticated, elite patrons. The subtle doctrinal content of Bellini’s work—the isolated crucifix in a landscape, the ...
