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
This book focuses on Tullio Lombardo's 'double-portrait', those mysterious noble reliefs containing busts of young couples whose meaning has long eluded scholars. Positing their significance as a new genre for private delectation created by a sculptor best known for public, and primarily funerary, monuments, Alison Luchs sets these and related works against the striking rarity of independent portrait sculpture in Venice before the mid-sixteenth century. Among other issues that Luchs considers are Venetian receptivity to the particularly expressive quality of this genre and the style as it develops in relation to contemporary Venetian painting, especially that of Giorgione and his followers. She concludes this richly illustrated study by suggesting that Tullio's extraordinary double-portrait sculpture played a critical role in preparing a Venetian audience for the acceptance of the individualised portrait bust.
This volume is one of several that examines the National Gallery of Art's distinguished collection of decorative arts. (The second volume will be published in 1996.) The group treated here is composed primarily of works acquired from the Widener Collection, and amplified by holdings acquired from the Kress family. Included are more than eighty Medieval, Renaissance, and later historic objects in a wide variety of media, encompassing metalwork, stained glass, enamels, ceramics, and jewels. Among the highlights are a Limoges reliquary chasse, a Mosan lion aquamanile, thirty-eight pieces in a remarkable cohesive group of Italian maiolica, three of the very rare pottery objects known as 'Saint-Porchaire', and, the centerpiece of the collection, the Suger chalice, an ancient sardonyx cup to which the Abbot Suger added a bejewelled golden setting in the twelfth century. Like other volumes in the Systematic Catalogue of the National Gallery of Art Collections,Western Decorative Arts includes a thoroughly researched entry for each object, together with an artist biography, up-to-date bibliography, and a technical analysis.
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
Janet Smith, a self-confessed sensitive lady writer, compares Illyria, a luxurious retreat for artists, to heaven when she first arrives. But before long she starts to see its guests as children, madmen and demons, as she makes disturbing discoveries about everyone there - including herself.
Frame Work explores how framing devices in the art of Renaissance Italy respond, and appeal, to viewers in their social, religious, and political context.
With The Row House in Washington, DC, the architectural historian and preservationist Alison Hoagland turns the lucid prose style and keen analytical skill that characterize all her scholarship to the subject of the Washington row house. Row houses have long been an important component of the housing stock of many major American cities, predominantly sheltering the middle classes comprising clerks, tradespeople, and artisans. In Washington, with its plethora of government workers, they are the dominant typology of the historical city. Hoagland identifies six principal row house types—two-room, L-shaped, three-room, English-basement, quadrant, and kitchen-forward—and documents their wide-ranging impact, as sources of income and statements of attainment as well as domiciles for nuclear families or boarders, homeowners or renters, long tenancy or short stays. Through restrictive covenants on some house sales, they also illustrate the pervasive racism that has haunted the city. This topical study demonstrates at once the distinctive character of the Washington row house and the many similarities it shares with row houses in other mid-Atlantic cities. In a broader sense, it also shows how urban dwellers responded to a challenging concatenation of spatial, regulatory, financial, and demographic limitations, providing a historical model for new, innovative designs. Publication of this volume was assisted by a grant from Furthermore: a program of the J. M. Kaplan Fund.
Though Bartolomeo Scala has long intrigued historians, he is a figure whose importance has only recently been appreciated. In Alison Brown's biography Scala emerges as a man of more ability and character than anyone has imagined him to be. We begin to understand why he was employed as chancellor for the almost unrivaled period of thirty-two years. Ms. Brown's study is not only the first extensive treatment of Scala's life but also a significant contribution to our knowledge of Italian Renaissance history and of the contrast between theory and practice in Medicean government. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Painters, draftsmen, goldsmiths, sculptors, and designers, the Pollaiuolo brothers of fifteenth-century Florence produced some of the most beautiful works of the Italian Renaissance.
This student-focused text provides an emphasis on skills development. Packed with real-life examples of what can go wrong with even the most well-conceived strategies, there is a focus on realism throughout. With a highly accessible writing style, this text it is an invaluable learning tool for all students in this area.
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