Pietro Aretino (1492-1556) was an influential Italian author, playwright, poet and satirist. He is credited with inventing modern literate pornography.
Biographical accounts by several of Titian’s contemporaries, including Giorgio Vasari, Pietro Aretino, and Raffaele Borghini, trace the fascinating and prolific life of this master of the Italian Renaissance. As the most important member of the sixteenth-century Venetian school, Titian (ca. 1488–1576) reached a level of professional success rivaled only by Raphael, Michelangelo, and, later, Rubens. He was sought after by a range of patrons from Venice as well as northern Italian princes and, eventually, the papacy. Titian’s painting methods, particularly his use of color, influenced not only painters of the Renaissance but also future generations of Western artists. This richly illustrated volume also includes comments on Titian by El Greco.
Born Jacopo Comin, Tintoretto (ca. 1519–1594) was one of the great painters of the late Renaissance. This book presents the first biographies of Tintoretto, by Giorgio Vasari and Carlo Ridolfi, as well as accounts from individuals who knew the artist personally. This volume also includes a translation of the marginal notes El Greco wrote in his copy of Vasari’s Life of Tintoretto, which have never before been published. Richly illustrated, with an introduction by the scholar Carlo Corsato that reconstructs Tintoretto’s career and contextualizes the contemporary sources, Lives of Tintoretto enhances our understanding of this influential Renaissance artist, who helped establish the Mannerist style.
Biographical accounts by several of Titian’s contemporaries, including Giorgio Vasari, Pietro Aretino, and Raffaele Borghini, trace the fascinating and prolific life of this master of the Italian Renaissance. As the most important member of the sixteenth-century Venetian school, Titian (ca. 1488–1576) reached a level of professional success rivaled only by Raphael, Michelangelo, and, later, Rubens. He was sought after by a range of patrons from Venice as well as northern Italian princes and, eventually, the papacy. Titian’s painting methods, particularly his use of color, influenced not only painters of the Renaissance but also future generations of Western artists. This richly illustrated volume also includes comments on Titian by El Greco.
In Copernicus in the Cultural Debates of the Renaissance, Pietro Daniel Omodeo presents a general overview of the reception of Copernicus’s astronomical proposal from the years immediately preceding the publication of De revolutionibus (1543) to the Roman prohibition of heliocentric hypotheses in 1616. Relying on a detailed investigation of early modern sources, the author systematically examines a series of issues ranging from computation to epistemology, natural philosophy, theology and ethics. In addition to offering a pluralistic and interdisciplinary perspective on post-Copernican astronomy, the study goes beyond purely cosmological and geometrical issues and engages in a wide-ranging discussion of how Copernicus’s legacy interacted with European culture and how his image and theories evolved as a result.
This is the first official guide to Italy's first public museum, the Milan home of famous paintings by Bellini, Mantegna, Piero della Francesca, Raphael, Tintoretto, and Veronese. Room by room, wall by wall, this guide gives detailed information about this magnificent permanent collection spanning the 13th to 20th centuries. The introduction by the Museum Director, Luisa Arrigoni, gives the history of Pinacoteca di Brera.
Pietro Pinti, born as he says 'in the Middle Ages,' worked the land with hoe and plow from his earliest youth. Growing up under Mussolini's Fascist regime on a farm near Florence, he and his family lived under conditions of extreme poverty, as sharecroppers to generally unscrupulous landowners. But during World War II, when millions in towns and cities suffered untold hardships, the hardy Tuscan peasants were well equipped to face the rigors of the era: war or no war, work on the land went on, and Pietro describes month by month a typical year in their lives: how they made wine and olive oil, planted and harvested the wheat by hand, made baskets and ladders from chestnut wood-skills now lost. With sly wit and salty wisdom, Pietro, a natural storyteller who played the trumpet, wrote poetry, and grew famous for his tales of peasants, knights, and brigands, recreates in colorful detail a world and peasant culture that is fast disappearing. Jenny Bawtree, an Englishwoman long settled in Tuscany, was so fascinated by Pietro's stories that she helped shape them into this autobiography, full of color and humor, hardship and nostalgia.
Pietro Gaietto, archaeologist, artist and essayist, recalled that happiness is repeated many times in people's lives. In his youth, happiness was a consequence of his important discoveries of bifacial anthropomorphic lithic sculpture of the ancient Stone Age (Paleolithic). In another period he found happiness exploring new styles of shapes and colors in his activity as an artist. On other occasions happiness came from making new friends.
This is the first complete translation of the biographies of fifteen artists, including Annibale Carracci, Carvaggio, Rubens, Van Dyck, and Poussin, written by the seventeenth-century antiquarian Giovan Pietro Bellori. Originally conceived as a continuation of Vasari's famous Lives, it is a fundamental source for seventeenth-century Italian art and artistic theory, providing detailed descriptions of extant and lost works of art, while casting light on the cultural politics of contemporary Rome and the relations between Rome and France. The importance of Bellori's Lives lies in the scrupulous documentation of artists, many of whom he knew personally; the author's detailed descriptions of their works; and his exposition of the classicist theory of art in the introductory lecture, the Idea. This volume contains the twelve Lives published in the original edition of 1672 and three Lives (Guido Reni, Andrea Sacchi, and Carlo Maratti) that survive in manuscript form and that were published for the first time in 1942.
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