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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.
Portraits of the Renaissance
Memling, Van Eyck, Antonello da Messina, Raphael, Holbein, Titian, Leonardo . . . these are the greatest names of the Renaissance which symbolize the ultimate in artistic achievement. Now their work is reproduced in this spectacular, luxury volume printed on cotton paper and exquisitely presented in a brown and turquoise linen case. Whether Italian, Flemish, or German, all were masters of the portrait, a style that was popular and much appreciated during the fifteenth and sixteenth centuries. The genius of these artists allowed them to overcome the limits of the genre and inscribe the art of portraiture into the universal history of mankind. Sharply focused and featuring meticulously researched illustrations, this beautiful book is the first of its kind to shed light on some of the most familiar images in art history. 70 illustrations
The Image of the Individual
These essays develop and challenge the supposition that the portrait in the Renaissance is connected with the 'cult of personality' which emerged in the 15th century and provoked people to record their features accurately.
The Moment of Self-Portraiture in German Renaissance Art
So foundational is this invention to modern aesthetics, Koerner argues, that interpreting it takes us to the limits of traditional art-historical method. Self-portraiture becomes legible less through a history leading up to it, or through a sum of contexts that occasion it, than through its historical sight-line to the present. After a thorough examination of Durer's startlingly new self-portraits, the author turns to the work of Baldung, Durer's most gifted pupil, and demonstrates how the apprentice willfully disfigured Durer's vision. Baldung replaced the master's self-portraits with some of the most obscene and bizarre pictures in the history of art. In images of nude witches, animated cadavers, and copulating horses, Baldung portrays the debased self of the viewer as the true subject of art. The Moment of Self-Portraiture thus unfolds as passages from teacher to student, artist to viewer, reception, all within a culture that at once deified and abhorred originality.
Renaissance Self-portraiture
An exploration of the genesis and early development of the genre of self-portraiture in Italy in the 15th and 16th centuries. The author examines a series of self-portraits in Renaissance Italy, arguing that they represented the aspirations of their creators to change their social standing.
Remember Me: Renaissance Portraits
Around 1500, portraiture flourished like never before. In countless European cities major Renaissance artists like Hans Holbein II, Albrecht Dürer, Hans Memling and Antonello da Messina produced lifelike portraits at the highest artistic level. For the first time in history, they not only immortalized kings and noblemen but also, and increasingly, powerful bankers, wealthy merchants and renowned scholars. These paintings, busts, medallions, prints and drawings still bear witness to their power, status, ambitions, friendships and religious convictions.00'Remember Me ' uses international masterpieces and surprising unknowns to tell the personal stories of the people portrayed. How did they want to be remembered? Whether they are lovers, celebrities or believers worshipping saints, the people portrayed implore the onlookers not to forget them.00Exhibition: Rijksmuseum, Amsterdam, The Netherlands (01.10.2021 - 16.01.2022).
Self Portrait
This text celebrates the lives of artists and their unique perspective on themselves and their work. An impressive array of self-portraits is presented in this major survey of the genre from the fifteenth century to the present day.
Renaissance Faces
"This survey traces the development of portrait painting in Northern and Southern Europe during the Renaissance, when the genre first flourished. Both regions developed their own distinct styles and techniques, but each was influenced by the other. Focusing on the relationship between artists of the north and south, renowned specialists analyse the notion of likeness - at that time based not only on accurate reference to posterity, but incorporating all aspects of human life, including propaganda, power, courtship, love, family, ambition and hierarchy. Essays and individual catalogue entries present new research on works by some of the greatest portraitists of the period, including Giovanni Bellini, Sandro Botticelli, Lucas Cranach, Albrecht Durer, Jan van Eyck, Hans Holbein and Titan, all magnificently illustrated."--Jacket.
The Portrait in the Renaissance
A major account of Renaissance portraiture by one of the twentieth century’s most eminent art historians In this book, John Pope-Hennessy provides an unprecedented look at two centuries of experiment in portraiture during the Renaissance. Pope-Hennessy shows how the Renaissance cult of individuality brought with it a demand that the features of the individual be perpetuated, a concept first manifested in the portraits that fill the great Florentine fresco cycles and led, later in the fifteenth century, to the creation of the independent portrait by such artists as Sandro Botticelli, Antonio del Pollaiuolo, Giovanni Bellini, and Antonello da Messina. Pope-Hennessy goes on to describe the process by which Titian and the great artists of the High Renaissance transformed the portrait from a record of appearance into an analysis of character.
