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Italian Painting
This volume presents Italian painting through specific themes, as well as by chronological and regional achievement. With approximately 300 colourplates, this large-format book contains devotional images, portraits, landscapes, allegorical paintings, genre scenes, still life arranements, and abstract compositions. Keith Christiansen is Curator of European Paintings at the Metropolitan Museum of Art in New York. His introduction and twenty eight essays set out in history of Italian Painting and its lasting impact. His thoughtful presentation not only instructs but also delights the reader with anecdotal details and innovative visual connections.
Italian Renaissance Painting According to Genres
Jacob Burckhardt (1818-1897) was one of the first great historians of culture and art. In his manuscript on the genres of Italian Renaissance painting-still unpublished in the original German and published here in English for the first time-Burckhardt assayed a transformative approach to the study of art history. Rather than undertaking a biographical or a chronological reading of artistic development, Burckhardt chose to read the source materials and extant works of the Italian Renaissance synchronically, by genre. Probably written between 1885 and 1893, this manuscript takes up twelve different categories of paintings, ranging from the allegorical to the historical, from the biblical to the mythological, from the glorification of saints to the denunciation of sinners. Maurizio Ghelardi's introductory essay analyzes Burckhardt's innovative treatment of his subject, establishing the importance of this text not only within Burckhardt's oeuvre but also within the continuum of art historical research.
Understanding Italian Renaissance Painting
Filled with great masterpieces, each spread uses an important painting as a way to explain a key concept, with numerous large details. There are also brief biographies of the major artists.
Early Italian Painting
Oscillating between the majesty of the Greco-Byzantine tradition and the modernity predicted by Giotto, Early Italian Painting addresses the first important aesthetic movement that would lead to the Renaissance, the Italian Primitives. Trying new mediums and techniques, these revolutionary artists no longer painted frescos on walls, but created the first mobile paintings on wooden panels. The faces of the figures were painted to shock the spectator in order to emphasise the divinity of the character being represented. The bright gold leafed backgrounds were used to highlight the godliness of the subject. The elegance of both line and colour were combined to reinforce specific symbolic choices. Ultimately the Early Italian artists wished to make the invisible visible. In this magnificent book, the authors emphasise the importance that the rivalry between the Sienese and Florentine schools played in the evolution of art history. The reader will discover how the sacred began to take a more human form through these forgotten masterworks, opening a discrete but definitive door through the use of anthropomorphism, a technique that would be cherished by the Renaissance.
Italian Painting in the Age of Unification
Italian Painting in the Age of Unification reconstructs the artistic motivations and messaging of three artists--Tommaso Minardi, Francesco Hayez, and Gioacchino Toma--from three distinct regions in Italy prior to, during, and directly following political unification in 1861. Each artist, working in Rome, Milan, and Naples, respectively, adopted the visual narratives particular to his region, using style to communicate aspects of his political, religious, or social context. By focusing on these three figures, this study will introduce readers outside of Italy to their diversity of practice, and provide a means for understanding their place within the larger field of international nineteenth-century art, albeit a place largely distinct from the better-known French tradition. The book will be of interest to scholars working in art history, nationalism, Italian history, or Italian studies.
Italian Art
Italian art, starting with its origins in the Middle Ages, has developed by the multiplicity of its artists and in the autonomy of its styles that for centuries now have been a constant point of reference for the whole Western World. This magnificent volume, illustrated with nearly 500 works of art, presents a portfolio of the artists who best represent the genesis and development of art in Italy from the twelfth to the nineteenth centuries. With clear and concise narrative, each historical period is brought to life in a way which will both enlighten and entertain the reader. Biographies of the artists featured add an extra dimension to the book.
Women in Italian Renaissance Art
This is the first book which gives a general overview of women as subject-matter in Italian Renaissance painting. It presents a view of the interaction between artist and patron, and also of the function of these paintings in Italian society of the fifteenth and sixteenth centuries. Using letters, poems, and treatises, it examines through the eyes of the contemporary viewer the way women were represented in paintings.
Images-within-Images in Italian Painting (1250-1350)
The rebirth of realistic representation in Italy around 1300 led to the materialization of a pictorial language which dominates global visual culture even today. This book offers the first comprehensive study of Italian meta-painting in the age of Giotto and sheds new light on the early modern and modern history of the phenomenon. The analysis of pictorial illusionism and reality effect together with the liturgical, narrative and typological role of images-within-images makes this work a pioneering contribution to visual studies and premodern Italian culture.
