The figure of the putto (often portrayed as a mischievous baby) made frequent appearances in the art and literature of Renaissance Italy. Commonly called spiritelli, or sprites, putti embodied a minor species of demon, in their nature neither good
Widely acknowledged as a prime manifestation of Florentine humanist culture under Lorenzo de'Medici, Botticelli's "Primavera" cannot be fully interpreted without considering the poetics that expressed the Laurentian cultural program and, in turn, the Renaissance itself. In this analysis Charles Dempsey examines the poetry written by Lorenzo and his literary clients in order to give definition to the cultural context in which the "Primavera" was created. A celebration of Love, the painting is shown to incorporate both public and private imaginative realms while embracing the ideal and the actual experiences of the present. The "Primavera," depicting Venus as the spirit of Love and springtime, is simultaneously old-fashioned and modern, rooted in International-Style vernacular conventions and evincing a nascent classical vocabulary. After describing the profoundly humanist classical foundation of the invention of the "Primavera," Dempsey identifies its genre with rustic song, then relates the painting to the conventions of vernacular love poetry. A close reading of the painting in relation to works by Lorenzo, Politian, Pulci, and other poets working to elevate vernacular expression by infusing native Tuscan with Latin forms suggests how the idea of Love portrayed by Botticelli in the form of Venus incorporates not only the ancient springtime "renovatio mundi" but also the actual cultural renovation--the Renaissance--imagined and sponsored by Lorenzo the Magnificent.
Sandro Botticelli, painter and draughtsman, was one of the most esteemed painters in Italy in his lifetime, enjoying the patronage of the leading families of Florence, summoned to take part in the decoration of the Sistine Chapel in Rome, and commended by the great diplomatic, scholarly, and artistic leaders of his time. Lauded for his superb technique as a draughtsman and colorist and for his skilled use of the new tempera grassa medium, his art represented the maturation of the humanist conception of painting. By his death, however, Botticelli's reputation was already waning - overshadowed by the advent of the High Renaissance style - and his name virtually disappeared from the art historical canon. This fully illustrated Grove Art Essentials title delves into Sandro Botticelli's life and working methods and explores the artist's career from early training and the production of his mythological and religious masterpieces to the eventual reassessment of his reputation that gathered momentum at the close of the 19th century.
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
Presents an overview of the history of Bolognese painting. This book looks at specific topics, such as portraiture, cabinet pictures, naturalism and classicism. It also examines the developments made in the eighteenth-century under Giuseppe Maria Crespi.
By investigating the important cultural figures who were close to the painter Nicolas Poussin (1594-1665), Elizabeth Cropper and Charles Dempsey allow the reader to enter not only the Rome where he lived but also the Rome of antiquity, which he admired and tried to reconstruct. The authors argue that Poussin's works were structured by his friendships, as well as by his study of ancient history and early Christian archaeology, his exploration of the poetry and mystery of ancient places, and his conception of his paintings as gifts rather than commercial objects. By looking into this rich background, they also show how Poussin introduced into his theory and practice of painting a new concept of the inherent expressiveness of form that was quite different from the then prevailing conventions for depicting the passions and affections. The first two chapters treat Vincenzo Giustiniani, the most sophisticated patron and art collector of his day, whose purpose and rationale for collecting ancient sculpture deeply influenced Poussin and the Flemish sculptor Francois Duquesnoy. Among other topics, the succeeding sections take up Poussin's deep readings of Montaigne and his friendships with the poet Giovanni Battista Marino, with artists such as Pietro Testa and Matteo Zaccolini, and with patrons and true friends, among them Cassiano dal Pozzo and Paul Freart de Chantelou, for whom Poussin painted a special self-portrait, which the artist said stood for "The Love of Painting and Friendship.
This title provides analysis of the cases in the Civil Procedure casebook by Friedenthal. The discussion of each case includes an explanation of the facts, issues, holdings, and the court's rationale. Also included is background information to relate the individual cases to the overall structure of the subject area. This title includes cases that pertain to selecting the proper court, providing notice and an opportunity to be heard, jurisdiction over the subject matter of the action, venue, local and transitory actions and forum non conveniens, ascertaining the applicable law, the development of modern procedure, modern pleading, joinder of claims and parties, class actions, pretrial devices, case management, adjudication without trial, trial, securing and enforcing judgments, appellate review, the binding effect of prior decisions, and alternative dispute resolution.
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