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Book Details

  • Paperback
  • Bookstore's Wholesale Price: $95.00
  • October 2011
  • ISBN: 978-0-500-28943-3
  • 696 pages
  • Territory Rights: USA and Dependencies, Philippines and Canada.


Italian Renaissance Art

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Stephen J. Campbell (Author, Johns Hopkins University), Michael W. Cole (Author, Columbia University)

 

Stephen Campbell & Michael Cole offer a new and invigorating approach to Italian Renaissance art that combines a straightforward chronological structure with new insights and approaches from contemporary scholarship.

Drawing on the most recent scholarship, this book is accessible to students and non-specialist readers, telling the story of art in the great centers of Rome, Florence, and Venice, while profiling a range of other cities and sites throughout Italy. While the book presents the classic canon of Renaissance painting and sculpture in full, it expands the scope of conventional surveys by offering a more through coverage of architecture, decorative and domestic art, and print media. Rather than emphasizing artists’ biographies, this new account concentrates on the works, discussing means of production, the place for which images were made, concerns of patrons, and the expectation and responses of the works first viewers. Renaissance art is seen as decidedly new, a moment in the history of art whose concerns persist in the present.

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Endorsements & Reviews

“Encourages both instructor and student to think about key themes in Renaissance art as they manifest themselves in different places and, to some extent, different times. Given the right pedagogical fit, this approach could be very useful to both students and instructors.” — caa.reviews (College Art Association)

    Introduction

    • Looking Back, Looking Forward
    • New Technologies and Theories of Art
    • Word and Image
    • The Book and its Structure

    Chapter 1. 1300–1400

    • The Trecento Inheritance
    • Political Geography and the Arts
    • Architectural Legacies
    • Giotto: The Painter and the Legend
    • Rival Traditions: Duccio
    • The Pisano Family and the Rise of Monumental Sculpture
    • Cult Images and Devotional Life

    Chapter 2. 1400–1410

    • The Cathedral and the City
    • Campanilism
    • Competition at Florence Cathedral
    • Marble Sculpture for the Cathedral: Nanni di Banco and Donatello
    • Jacopo dell Quercia and the Fonte Gaia

    Chapter 3. 1410–1420

    • Commissioning Art: Standardization, Customization,Emulation
    • Orsanmichele and its Tabernacles
    • Customizing the Altarpiece: The Coronation of the Virgin
    • Filippo Brunelleschi and the Foundling Hospital

    Chapter 4. 1420–1430

    • Perspective and the Historia
    • The Centrality of Florence
    • Lorenzo Ghiberti and Brunelleschi at the Baptistry
    • Perspective and Narrative
    • The Brunelleschian Model and its Alternatives
    • Leon Battista Alberti: A Human Theory of Painting

    Chapter 5. 1430–1440

    • Pictorial Techniques and the Uses of Drawing
    • Technique: Painting Panels and Frescoes
    • The Centrality of Disegno 1
    • Inventing Antiquity
    • Jacopo and the Transformation of the Modelbook

    Chapter 6. 1440–1450

    • Palace and Church
    • The Sacred and the Profane
    • San Marco
    • The Florentine Altarpiece After 1440
    • Andrea del Castagno and the Convent of Sant’Apollonia
    • The all’antica Tomb
    • The Private Palace
    • Civic Patronage and the Church:
    • Venice and Padua
    • Siena: Civic and Sacred Space
    • The Vatican Papacy and the Embellishment of St. Peter’s

    Chapter 7. 1450–1460

    • Rome and Other Romes
    • The Model City
    • The Courts of Naples and Rimini
    • Padua
    • Pius II: Rome and Pienza
    • Alberti on Architecture

    Chapter 8. 1460–1470

    • Courtly Values
    • What is Court Art?
    • Ferrara and the Court of Borso d’Este
    • The Sforza Court in Milan
    • Alberti, Mantegna and the Gonzaga Court
    • Urbino: The Palace of Frederico da Montefeltro
    • Courtly Values in Cities Without Courts

    Chapter 9. 1470–1480

    • What is Naturalism?
    • The Flemish Manner
    • Oil Painting
    • Life Study
    • Leonardo da Vinci’s Beginnings
    • Nature and the Classical Past
    • Beauties Beyond Nature

    Chapter 10. 1480–1490

    • Migration and Mobility
    • Portable Art
    • Artists on the Move
    • Florentine Bronze Sculptures in Venice and Rome
    • Florentine Painters in Rome: The Sistine
    • Chapel Frescoes
    • Leonardo Goes to Milan

    Chapter 11. 1490–1500

    • From the Margins to the Center
    • A Fugitive Boundary
    • The Studiolo of Isabella d’Este and Mythological Painting
    • Corporate Devotion
    • The World Ends
    • Judgment Day in Orvieto, “Last Thing” at Bologna
    • Leonardo in Sforza Milan
    • Michelangelo: Early Works in Marble

    Chapter 12. 1500–1510

    • Human Nature
    • The Heroic Body and its Alternatives
    • Leonardo and Michelangelo in Florence
    • Raphael’s Beginnings
    • Rome: A New Architectural Language
    • The Sistine Ceiling
    • The Vatican Palace
    • Venice

    Chapter 13. 1510–1520

    • The Workshop and the “School”
    • Raphael and his Team 1512–20
    • Michelangelo’s Sculptures for the Julius Tomb
    • The Florentine “Schools”
    • Titian and the Camarino of Alfonso d’Este

    Chapter 14. 1520–1530

    • The Loss of the Center
    • The Sala di Constantino
    • Rome after Raphael: Making a Reputation
    • Florence
    • Lombady and Venice
    • The Sack of Rome in 1527

    Chapter 15. 1530–1540

    • Dynasty and Myth
    • The Della Rovere in Urbino
    • The Gonzaga in Mantua
    • The Medici in Florence
    • Andrea Doria in Genoa
    • Rome under the Farnese

    Chapter 16. 1540–1550

    • Literate Art
    • The Painting of History
    • Michelangelo’s Gift Drawings and the Pietà
    • The Rise of Vernacular Art Theory
    • Italians Abroad: Fontainebleau
    • The City Square
    • Painting Without Poetry

    Chapter 17. 1550–1560

    • Disegno/Colore
    • Titian and Rome
    • Design and Production: Florence and Rome
    • Interpreting Michelangelo
    • “Out of Italy”

    Chapter 18. 1560–1570

    • Decorum, Order, and Reform
    • Alessandro Moretto and Giovanni Moroni: Reform Tendencies on the Eve of Trent
    • Michelangelo’s Last Judgment, Twenty Years Later
    • The Jesuits and the Reform of Church Architecture
    • Princes of the Church and their Villas
    • Villas in the Veneto: Andrea Palladio
    • The “Sacro Bosco” at Bomarzo
    • Bologna, Florence, and Rome in the Time of Pius IV
    • The Arts in Transition

    Chapter 19. 1570–1580

    • Art, the People, and the Counter-Reformation Church
    • Two Reforming Archbishops
    • Venice in the 1570s
    • Three Confraternities
    • Architecture and Urbanism in Counter-Reformation Rome
    • The Image of the People

    Chapter 20. 1580–1590

    • A Sense of Place
    • Gardens and Grottos
    • The Bolognese New Wave
    • The “Holy Mountain” at Varallo
    • Mapping Rome
    • Urbanism in Rome under Sixtus V
    • The Place of Giambologna’s Abduction of the Sabine

    Chapter 21. 1590–1600

    • The Persistence of Art
    • Church Humanism, Church Archeology
    • A New Geography
    • Galleries and Collectible
    • Three Paths, c. 1600
    • After 1600

    Chronology of Rule 1400–1600

    Key Centers

    Glossary

    Bibliographical Notes and Suggestions for Further Reading

    Picture Credits

    Index