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Lomazzo’s Aesthetic Principles Reflected in the Art of his Time
Lomazzo's Aesthetic Principles Reflected in the Art of his Time explores the work of the Milanese artist-theorist Giovanni Paolo Lomazzo (1538–92) and his influence on the circle of the Accademia della Val di Blenio and beyond. Following reflections on Lomazzo's fortuna critica, the accompanying essays examine his admiration of Gaudenzio Ferrari; Lomazzo’s painted oeuvre; his influence on printmaking with Giovanni Ambrogio Brambilla; on drawing and painting with Aurelio Luini; on the decorative arts and the embroideress Caterina Cantoni; his pupils Giovanni Ambrogio Figino and Girolamo Ciocca; grotesque sculpture outside Milan; and Lomazzo in England with Richard Haydocke’s translation of the Trattato. In doing so, this book takes an innovative approach—one which aims to bridge the scholarship, hitherto disjoined, between Lomazzo the artist and Lomazzo the theorist—while expanding our knowledge of a protagonist of Renaissance and early modern art theory. Contributors: Alessia Alberti, Federico Cavalieri, Jean Julia Chai, Roberto Paolo Ciardi, Alexander Marr, Silvia Mausoli, Mauro Pavesi, Rossana Sacchi, Paolo Sanvito, and Lucia Tantardini.
Idea of the Temple of Painting
An English translation of the Renaissance treatise on painting by the Milanese artist Giovan Paolo Lomazzo (1538-1592). Drawing on a wide range of influences, including Leonardo's legacy, Neoplatonic cosmology, and the occult, Lomazzo affirms the development of every artist's unique, expressive style or maniera.
Lomazzo’s Aesthetic Principles Reflected in the Art of his Time
Lomazzo's Aesthetic Principles Reflected in the Art of his Time explores the work of the Milanese artist-theorist Giovanni Paolo Lomazzo (1538–92) and his influence on the circle of the Accademia della Val di Blenio and beyond. Following reflections on Lomazzo's fortuna critica, the accompanying essays examine his admiration of Gaudenzio Ferrari; Lomazzo’s painted oeuvre; his influence on printmaking with Giovanni Ambrogio Brambilla; on drawing and painting with Aurelio Luini; on the decorative arts and the embroideress Caterina Cantoni; his pupils Giovanni Ambrogio Figino and Girolamo Ciocca; grotesque sculpture outside Milan; and Lomazzo in England with Richard Haydocke’s translation of the Trattato. In doing so, this book takes an innovative approach—one which aims to bridge the scholarship, hitherto disjoined, between Lomazzo the artist and Lomazzo the theorist—while expanding our knowledge of a protagonist of Renaissance and early modern art theory. Contributors: Alessia Alberti, Federico Cavalieri, Jean Julia Chai, Roberto Paolo Ciardi, Alexander Marr, Silvia Mausoli, Mauro Pavesi, Rossana Sacchi, Paolo Sanvito, and Lucia Tantardini.
Giovanni Paolo Lomazzo's Trattato Dell'Arte Della Pittura
Tramelli considers three main areas of Giovanni Paolo Lomazzo s studies: color, perspective and anatomy, investigating the types of theoretical and practical knowledge on these subjects conveyed in the Trattato dell Arte della Pittura and how the context of Milan at the end of the sixteenth century shaped the material gathered in Lomazzo s books."
Idea of the Temple of Painting
An English translation of the Renaissance treatise on painting by the Milanese artist Giovan Paolo Lomazzo (1538-1592). Drawing on a wide range of influences, including Leonardo's legacy, Neoplatonic cosmology, and the occult, Lomazzo affirms the development of every artist's unique, expressive style or maniera.
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...
Arcimboldo
In Giuseppe Arcimboldo’s most famous paintings, grapes, fish, and even the beaks of birds form human hair. A pear stands in for a man’s chin. Citrus fruits sprout from a tree trunk that doubles as a neck. All sorts of natural phenomena come together on canvas and panel to assemble the strange heads and faces that constitute one of Renaissance art’s most striking oeuvres. The first major study in a generation of the artist behind these remarkable paintings, Arcimboldo tells the singular story of their creation. Drawing on his thirty-five-year engagement with the artist, Thomas DaCosta Kaufmann begins with an overview of Arcimboldo’s life and work, exploring the artist’s early years ...
Renaissance Theories of Vision
How are processes of vision, perception, and sensation conceived in the Renaissance? How are those conceptions made manifest in the arts? The essays in this volume address these and similar questions to establish important theoretical and philosophical bases for artistic production in the Renaissance and beyond. The essays also attend to the views of historically significant writers from the ancient classical period to the eighteenth century, including Plato, Aristotle, Plotinus, St Augustine, Ibn Sina (Avicenna), Ibn al-Haytham (Alhazen), Ibn Sahl, Marsilio Ficino, Nicholas of Cusa, Leon Battista Alberti, Gian Paolo Lomazzo, Gregorio Comanini, John Davies, Rene Descartes, Samuel van Hoogstr...
Ficino and Fantasy
Did the Florentine philosopher Marsilio Ficino (1433-99) influence the art of his time? Art historians have been fiercely debating this question for decades. This book starts with Ficino’s views on the imagination as a faculty of the soul, and shows how these ideas were part of a long philosophical tradition and inspired fresh insights. This approach, combined with little known historical material, offers a new understanding of whether, how and why Ficino’s Platonic conceptions of the imagination may have been received in the art of the Italian Renaissance. The discussion explores Ficino’s possible influence on the work of Botticelli and Michelangelo, and examines the appropriation of Ficino’s ideas by early modern art theorists.
