Renaissance art – Globolibri.it

Women in Italian Renaissance Art : Gender, Representation, Identity

Arnaldo Ageno — Fri, 27 Jun 2025 14:10:33 +0000

This richly illustrated books tells the story of the different ways in which women were represented in Italian Renaissance painting. It is clearly arranged into four distinct areas that relate to the function of the art work: marriage furniture, portraiture, the nude and depictions of female saints. Uncovering the many layers of meaning hidden in the iconography of these paintings, the book reintroduces us to the cultural context in which the artists operated, providing interesting new readings of well-known works by Raphael, Leonardo and Titian, among others.

Strong Women in Renaissance Italy

Arnaldo Ageno — Fri, 27 Jun 2025 14:02:56 +0000

The lives, works and imagery of women artists, patrons and icons in Renaissance Italy.
The story of the Renaissance in Italy is often told through the work of great male artists such as Michelangelo, Raphael, Donatello and Leonardo. But what about the female half of the population? By exploring works made by, for, or about women, this book aims to reconsider a period of creative ingenuity and artistic excellence from their often-overlooked perspective. Drawing on the rich collection of paintings, ceramics, textiles, illustrated books and prints at the Museum of Fine Arts, Boston, this publication focuses on images of feminine power, both sacred and secular, telling the stories of saints such as Mary Magdalen as examples of strength and ascetic devotion, Biblical heroines such as Judith as civic and domestic role models, and the mythical sorceress Medea as the ideal of a heroic nude.

Women also asserted their presence as artists, artisans and patrons: Sofonisba Anguissola, Lavinia Fontana, Artemisia Gentileschi, Vittoria Colonna, Isabella d’Este and Eleonora Gonzaga are just some of the strong women who shaped the life and art of the Italian Renaissance.

Art in Renaissance Italy, 4th edition

Arnaldo Ageno — Fri, 27 Jun 2025 13:13:15 +0000

The Civilization of the Renaissance in Italy

Arnaldo Ageno — Fri, 27 Jun 2025 13:01:20 +0000

For nineteenth-century Swiss historian Jacob Burckhardt, the Italian Renaissance was nothing less than the beginning of the modern world – a world in which flourishing individualism and the competition for fame radically transformed science, the arts, and politics. In this landmark work he depicts the Italian city-states of Florence, Venice and Rome as providing the seeds of a new form of society, and traces the rise of the creative individual, from Dante to Michelangelo. A fascinating description of an era of cultural transition, this nineteenth-century masterpiece was to become the most influential interpretation of the Italian Renaissance, and anticipated ideas such as Nietzsche’s concept of the ‘Ubermensch’ in its portrayal of an age of genius.

A New History of Italian Renaissance Art

Arnaldo Ageno — Fri, 27 Jun 2025 12:53:57 +0000

Campbell and Cole, respected teachers and active researchers, draw on traditional and current scholarship to present complex interpretations in this new edition of their engaging account of Italian Renaissance art. The book’s unique decade-by-decade structure is easy to follow, and permits the authors to tell the story of art not only in the great centres of Rome, Florence and Venice, but also in a range of other cities and sites throughout Italy, including more in this edition from Naples, Padua and Palermo. This approach allows the artworks to take centre-stage, in contrast to the book’s competitors, which are organized by location or by artist.

Other updates for this edition include an expanded first chapter on the Trecento, and a new ‘Techniques and Materials’ appendix that explains and illustrates all of the major art-making processes of the period. Richly illustrated with high-quality reproductions and new photography of recent restorations, it presents the classic canon of Renaissance painting and sculpture in full, while expanding the scope of conventional surveys by offering a more thorough coverage of architecture, decorative and domestic arts, and print media.

Campbell e Cole, stimati insegnanti e attivi ricercatori, attingono a studi tradizionali e contemporanei per presentare complesse interpretazioni in questa nuova edizione del loro avvincente resoconto dell’arte rinascimentale italiana. L’esclusiva struttura decennale del libro è di facile consultazione e permette agli autori di raccontare la storia dell’arte non solo nei grandi centri di Roma, Firenze e Venezia, ma anche in una serie di altre città e siti in tutta Italia, tra cui, in questa edizione, Napoli, Padova e Palermo. Questo approccio permette alle opere d’arte di essere al centro dell’attenzione, a differenza delle opere concorrenti, organizzate per luogo o per artista.

Tra gli altri aggiornamenti di questa edizione figurano un primo capitolo ampliato sul Trecento e una nuova appendice “Tecniche e Materiali” che spiega e illustra tutti i principali processi creativi del periodo. Riccamente illustrato con riproduzioni di alta qualità e nuove fotografie di recenti restauri, il libro presenta integralmente il canone classico della pittura e della scultura rinascimentale, ampliando al contempo la portata delle indagini convenzionali offrendo una trattazione più approfondita di architettura, arti decorative e domestiche e della stampa.

Art in Renaissance Italy 1350-1500

Arnaldo Ageno — Fri, 27 Jun 2025 11:01:58 +0000

Between the `Black Death’ in the mid-fourteenth century and the French invasions at the end of the fifteenth, artists such as Masaccio, Donatello, Fra Angelico, and Leonardo, working in the kingdoms, princedoms, and republics of the Italian peninsula, created some of the most influential and exciting works in a variety of artistic fields. Yet the traditional story of the Renaissance has been dramatically revised in the light of new scholarship, and new issues have greatly enriched our understanding of the period. Emphasis has been placed on recreating the experience of contemporary Italians – the patrons who commissioned the works, the members of the public who viewed them, and the artists who produced them.

In this book Evelyn Welch presents a fresh picture of the Italian Renaissance. Giving equal weight to the Italian regions outside Florence, she discusses a wide range of works, from paintings to coins, and from sculptures to tapestries, examines the issues of materials, workshop practises, and artist-patron relationships, and explores the ways in which visual imagery related to contemporary sexual, social and political behaviour.

Italian Maiolica and Other Early Modern Ceramics in the Courtauld Gallery

Arnaldo Ageno — Fri, 27 Jun 2025 08:04:07 +0000

This is the first catalogue of the collection of early modern ceramics in the Courtauld. The pieces in the collection showcase brilliantly the skill of potters and pottery painters working at the time of Raphael and Titian. Maiolica is one of the most revealing expressions of Renaissance art.

Its extraordinary range of colours retain the vividness that they had when they left the potter’s kiln. Italian potters absorbed techniques and shapes from the Islamic world and incorporated ornament and subject matter from the arts of ancient Rome. This new approach to pottery making, combined with the invention of printing, woodcut and engraving, resulted in an extraordinary type of painted pottery, praised by Vasari in his Lives of the Artists for ‘surpassing the ancient with its brilliance of glaze and variety of painting’.

The collection boasts a magnificent group of vessels made during the high Renaissance, the golden age of Italian maiolica. It includes precious and delicate Deruta lustreware with imagery deriving from Perugino and Raphael, as well as vessels painted in a narrative style of pottery painting known as istoriato. Highlights include vessels depicting episodes taken from the first printed Bibles of the Renaissance.

Istoriato maiolica flourished particularly in the lands of the Dukes of Urbino, who promoted this craft by sending painted pottery to prestigious patrons across Europe. Emblems and devices painted on the pottery help us understand that they were meant to be used and enjoyed by the elites in Renaissance society, such as the Medici and other great Tuscan families. The catalogue will include two recent gifts to the Courtauld, a rare tile of the famous patroness of the arts Marchioness Isabella D’Este, and a refined dish painted with the story of Diana and Actaeon.

All major Renaissance pottery centres are represented in the collection, including Siena, Faenza and Venice, as well as splendid examples of the mysterious pharmacy jars made at the foot of the mountain of Gran Sasso in the town of Castelli d’Abruzzo. These achievements of the art of pottery in the early modern period are completed by fine examples of Ottoman pottery, as well as examples of Valencian lustreware. Sani’s introductory essay on the Victorian collector Thomas Gambier Parry will shed new light on the development of this fascinating collection, making links between Gambier Parry’s artistic practice and his collecting and revealing new insights into his taste as a collector.

Each detailed entry uncovers a wealth of new information on the provenance of the pieces.

Questo è il primo catalogo della collezione di ceramiche dell’inizio dell’età moderna del Courtauld. I pezzi della collezione mettono in mostra in modo brillante l’abilità di ceramisti e pittori di ceramiche attivi al tempo di Raffaello e Tiziano. La maiolica è una delle espressioni più rivelatrici dell’arte rinascimentale.

La sua straordinaria gamma di colori conserva la vividezza che avevano quando uscivano dalla fornace. I ceramisti italiani assorbirono tecniche e forme dal mondo islamico e incorporarono ornamenti e soggetti dalle arti dell’antica Roma. Questo nuovo approccio alla ceramica, combinato con l’invenzione della stampa, della xilografia e dell’incisione, diede vita a uno straordinario tipo di ceramica dipinta, elogiato dal Vasari nelle sue Vite per “superare l’antico per la brillantezza della sua vernice e per la varietà della sua pittura”.

La collezione vanta un magnifico gruppo di vasi realizzati durante l’Alto Rinascimento, l’età d’oro della maiolica italiana. Include preziosi e delicati lustri di Deruta con immagini ispirate a Perugino e Raffaello, oltre a vasi dipinti in uno stile narrativo di pittura su ceramica noto come istoriato. Tra i pezzi forti figurano vasi raffiguranti episodi tratti dalle prime Bibbie a stampa del Rinascimento.

La maiolica istoriata prosperò in particolare nelle terre dei Duchi di Urbino, che promossero quest’arte inviando ceramiche dipinte a prestigiosi mecenati in tutta Europa. Emblemi e emblemi dipinti sulle ceramiche ci aiutano a comprendere come fossero destinate all’uso e al godimento delle élite della società rinascimentale, come i Medici e altre grandi famiglie toscane. Il catalogo includerà due recenti doni al Courtauld, una rara piastrella della celebre mecenate delle arti, la Marchesa Isabella D’Este, e un raffinato piatto dipinto con la storia di Diana e Atteone.

La collezione rappresenta tutti i principali centri ceramici rinascimentali, tra cui Siena, Faenza e Venezia, oltre a splendidi esempi dei misteriosi vasi da farmacia realizzati ai piedi del Gran Sasso, nella città di Castelli d’Abruzzo. Queste conquiste dell’arte della ceramica nella prima età moderna sono completate da raffinati esempi di ceramica ottomana e di ceramica a lustro valenciana. Il saggio introduttivo di Sani sul collezionista vittoriano Thomas Gambier Parry getterà nuova luce sullo sviluppo di questa affascinante collezione, creando collegamenti tra la pratica artistica di Gambier Parry e il suo collezionismo e rivelando nuovi spunti sul suo gusto collezionistico.

Ogni scheda dettagliata svela una ricchezza di nuove informazioni sulla provenienza dei pezzi.