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The Renaissance Nude
A gloriously illustrated examination of the origins and development of the nude as an artistic subject in Renaissance Europe Reflecting an era when Europe looked to both the classical past and a global future, this volume explores the emergence and acceptance of the nude as an artistic subject. It engages with the numerous and complex connotations of the human body in more than 250 artworks by the greatest masters of the Renaissance. Paintings, sculptures, prints, drawings, illuminated manuscripts, and book illustrations reveal private, sometimes shocking, preoccupations as well as surprising public beliefs—the Age of Humanism from an entirely new perspective. This book presents works by A...
Restoration as Fabrication of Origins
The aim of this publication is to clarify the relationships between material restoration and politics in Italian Renaissance art. The focus of this research is on the question of origin as a foothold for political, patrimonial, and cultural identity. These claims were enacted within a system which, rather than restoring the initial forms and meanings of existing objects, remodeled the past according to new identity requirements: spaces were reorganized, and works of art invested with new meanings. Their material and aesthetic reality was thus transformed and redefined. The aim is therefore to analyze the potential physical modifications of these artefacts in light of their symbolic recoding. Restoration practices in Italian Renaissance art Reassessing the concept of Renaissance Recording of ancient works for political purposes
The Badia of Florence
The Santa Maria di Firenze, the venerable Benedictine abbey located in the heart of Florence, is the subject of this book. Leader's richly illustrated, interdisciplinary study examines the abbey's history during the Renaissance.
Smuggling the Renaissance
Smuggling the Renaissance: The Illicit Export of Artworks Out of Italy, 1861-1909 explores the phenomenon of art spoliation in Italy following Unification (1861), when the international demand for Italian Renaissance artworks was at an all-time high but effective art protection legislation had not yet been passed. Making use of rich archival material Joanna Smalcerz narrates the complex and often dramatic struggle between the lawmakers of the new Italian State, and international curators (e.g., Wilhelm Bode), collectors (e.g., Isabella Stewart Gardner) and dealers (e.g., Stefano Bardini) who continuously orchestrated illicit schemes to export abroad Italian masterpieces. At the heart of the intertwinement of the art trade, art scholarship and art protection policies the author exposes the socio-psychological dynamics of unlawful collecting.
Verrocchio
A comprehensive survey of the work of this most influential Florentine artist and teacher Andrea del Verrocchio (c. 1435–1488) was one of the most versatile and inventive artists of the Italian Renaissance. He created art across media, from his spectacular sculptures and paintings to his work in goldsmithing, architecture, and engineering. His expressive, confident drawings provide a key point of contact between sculpture and painting. He led a vibrant workshop where he taught young artists who later became some of the greatest painters of the period, including Leonardo da Vinci, Sandro Botticelli, Lorenzo di Credi, and Domenico Ghirlandaio. This beautifully illustrated book presents a comprehensive survey of Verrocchio's art, spanning his entire career and featuring some fifty sculptures, paintings, and drawings, in addition to works he created with his students. Through incisive scholarly essays, in-depth catalog entries, and breathtaking illustrations, this volume draws on the latest research in art history to show why Verrocchio was one of the most innovative and influential of all Florentine artists. Published in association with the National Gallery of Art, Washington, DC
The Renaissance Portrait
Published in conjunction with an exhibition held at the Bode-Museum, Berlin, Aug. 25-Nov. 20, 2011, and at the Metropolitan Museum of Art, New York, Dec. 21, 2011-Mar. 18, 2012.
Culture
Can anyone really own a culture? This magnificent account argues that the story of global civilisations is one of mixing, sharing, and borrowing. It shows how art forms have crisscrossed continents over centuries to produce masterpieces. From Nefertiti's lost city and the Islamic Golden Age to twentieth century Nigerian theatre and Modernist poetry, Martin Puchner explores how contact between different peoples has driven artistic innovation in every era - whilst cultural policing and purism have more often undermined the very societies they tried to protect. Travelling through Classical Greece, Ashoka's India, Tang dynasty China, and many other epochs, this triumphal new history reveals the crossing points which have not only inspired the humanities, but which have made us human.
The Power of Art
An epic work of art history that will transform our understanding of the world by unlocking the human stories behind millennia of art. Taking readers from ancient Babylon to contemporary Pyongyang, the eminent curator Caroline Campbell explains art's power to illuminate our lives—and inspires us to benefit from its transformative and regenerative power. Unlike the majority of contemporary art history, this book is about much more than the cult of artists’ personalities. Instead, each chapter is structured around a city at a particularly vibrant moment in its history, describing what propelled its creativity and innovation. The emotions and societies she evokes are highly recognizable, revealing how great art resonates powerfully by transcending the boundaries of time.
Pierre Bonnard
"The vibrant late paintings of Pierre Bonnard (1867-1947) are considered by many to be among his finest achievements. Working in a small converted bedroom of his villa in the south of France, Bonnard suffused his late canvases with radiant Mediterranean light and dazzling color. Although his subjects were close at hand-usually everyday scenes taken from his immediate surroundings, such as the dining room table being set for breakfast, or a jug of flowers perched on the mantelpiece - Bonnard rarely painted from life. Instead, he preferred to make pencil sketches in small diaries and then rely on these, along with his memory, once in the studio." "This volume, which accompanies the first exhib...
