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Art in Renaissance Italy

Author: John T Paoletti; Gary M Radke
Publisher: New York : H.N. Abrams, 1997.
Edition/Format:   Print book : EnglishView all editions and formats
A glance at the pages of Art in Renaissance Italy shows at once its freshness and breadth of approach, which includes: How and why works at art, buildings, prints, and other kinds of art came to be; how men and women of the Renaissance regarded art and artists; and why works of Renaissance art look the way they do, and what this means to us. Unlike other books on the subject, this one covers not only Florence and
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Additional Physical Format: Online version:
Paoletti, John T.
Art in Renaissance Italy.
New York : H.N. Abrams, 1997
Document Type: Book
All Authors / Contributors: John T Paoletti; Gary M Radke
ISBN: 0810919788 9780810919785
OCLC Number: 36482283
Description: 480 pages : illustrations (some color), maps ; 28 cm
Contents: Art in context --
Patronage --
The artists' workshops --
Vasari and the historical framework --
Vasari's Three ages --
Materials and methods --
A peninsula of city-states --
Venice, Florence, and Siena: communal myths and institutions --
Civic identification with patron saints --
Venice: St. Mark and his Basilica --
Florence: St. John the Baptist and the Baptistry --
Siena: the Virgin Mary and the cathedral --
The pulpit --
The cathedral façade --
City halls --
Mendicant orders --
Santa Croce and Santa Maria Novella in Florence --
Defining St. Francis --
The first Franciscan art --
Crucifixes --
Altarpieces dedicated to the Virgin --
Cimabue's altarpiece for Santa Trinita --
Duccio's altarpiece for the confraternity of the Laudesi --
Naples: art exalting the ruler --
The court and the importation of artists --
Architectural commissions in Naples --
Rome: artists, popes, and cardinals renewing the Church, 1277-c. 1310 --
The revival of Rome under Nicholas III --
The Sancta Sanctorum --
Nicholas IV at Santa Maria Maggiore --
Patrons from the Papal Curia --
Art and childbirth --
Pope Boniface VIII and an imperial language of power --
Images for the church during an absent papacy --
Assisi: papal influence outside Rome --
The Church of San Francesco --
Apse and transept frescoes --
Nave frescoes --
St. Francis and the Christ child --
Padua and Florence: private patronage --
The Scrovegni (Arena) Chapel --
The Sante Croce frescoes and altarpiece --
The Bardi Chapel --
The Peruzzi Chapel --
The Baroncelli Chapel --
The Sante Croce altarpiece --
The refectory frescoes --
Florence and Siena: promoting church and state --
Florence: the Duomo --
Andrea Pisano's baptistry doors --
Siena: Duccio's Maestà --
Simone Martini's Maestà for the Palazzo Pubblico --
The Palazzo Pubblico in San Gimignano --
The Sala della Pace: "good government" --
Art and violence --
Altarpieces: conventions and contexts --
Arezzo: the Tarlati tomb --
Later Sienese painting --
Naples and Milan: images of dynasty, power, and magnificence --
Naples: consolidating Angevin rule --
The altarpeice of St. Louis --
Monastic sites of royal patronage --
Angevin tombs --
The tomb of Mary of Hungary --
The tomb of Robert of Anjou --
Milan: the visconti --
Assone Visconti and the idea of magnificence --
Azzone Visconti's tomb --
Embellishment of the city --
Lordly imagery at the North Italian courts --
Milan and Pavia: the visconti --
The altarpiece of the Magi --
The equestrian monument of Bernabò Visconti --
The Cansignorio della Scala Monument in Verona --
The Castello Visconteo --
Manuscript illumination --
Art and gastronomy --
The Padua Baptistry --
Patronage at the Santo: the St. James (San Felice) Chapel --
St. Anthony of Padua --
The Oratory of St. George --
Venice: images of the state and the individual --
The Pala d'Oro --
St. Mark's Baptistry --
Church of Santi Giovanni e Paolo --
The Doge's Palace --
Guariento's Coronation of the Virgin --
Pisa and Florence: images of mortality, judgment, and crisis before and after the Black Death --
The Camposanto frescoes in Pisa --
Santa Maria Novella in Florence --
The Strozzi Chapel and the Black Death --
The Guidalotti Chapel --
Florence: social upheaval and civic works --
Or San Michele --
Other civic imagery --
Milan and Naples: the court and the state --
Milan: Giangaleazzo Visconti --
The Certosa of Pavia --
Milan cathedral architecture --
Mian cathedral sculpture --
Secular frescoes --
Commissions of King Ladislas --
Aristocratic patronage --
Queen Giovanna II and the monument to King Ladislas --
The Caracciolo Chapel --
The Brancacci Tomb --
Venice: affirmations of past and present --
Enhancements to St. Mark's --
San Stefano --
The Ca d'Oro --
Florence I: civic and guild commissions as expressions of the new republic --
The competition for the second baptistry doors --
Ghiberti versus Brunelleschi --
The foundling hospital --
San Lorenzo --
Brunelleschi's dome --
The Cantorie --
Florence II: family commissions as expressions of social and political status --
The Castellani Chapel --
The Legend of the true cross --
Frescoes at San Miniato --
Secular painting --
Shifts in pictorial style --
The Strozzi Chapel --
Masaccio and the Brancacci Chapel --
The trinity and the single-point prespective --
Siena: renewing the image of the commune --
Siena's political system and the Palazzo Pubblico --
The Fonte Gaia --
Art and popular piety --
The baptismal font --
Florence: civic and personal commissions under the Medici --
The Gates of Paradise --
Civic imagery --
The tomb of Leonardo Bruni --
The Medici --
The Old Sacristy --
San Lorenzo --
San Marco --
The Medici Palace --
Portrait busts --
Decoration of the Medici Palace --
Donatello's bronze David and Judith and Holofernes --
Cosimo and Donatello's late work --
Narrative frescoes --
Rome: the revived papacy --
Martin V's Santa Maria Maggiore altarpiece --
Eugenius IV --
A cautionary frescoe --
Nicholas V --
Fra Angelico in Rome --
Pius II --
Pienza --
Cardinals' commissions --
Paul II --
A Roman school of painting --
Courtly art: Gothic and Classical --
Pisanello in Verona --
Art and punishment --
Ferrara --
Mantua --
Frescoes in the Sala Pisanello --
Visconti Milan --
Naples and the court of Alfonso the Magnanimous --
Rimini --
Sforza Milan --
The Certosa --
Venice and the Veneto: elaborating local and classical traditions --
Palazzo Foscari --
The Cappella Nova --
The Scuola della Carità --
Jacopo Bellini --
The Cappella Nova in the late 1440s --
Donatello in Padua --
The Santo altarpiece --
The Gattamelata monument --
Mantegna in Padua --
Mantegna in Verona --
Venice: heir of East and West --
The Scuole --
Ducal and state commissions --
Ferrara, Urbino, and Mantua: art reflecting the ruler --
The Palazzo Ducale --
Sant' Andrea --
Mantegna --
Florence: the golden age under Lorenzo the Magnificent --
The Tomb of Piero and Giovanni de' Medici --
The Mercanzia Niche at Or San Michele --
The devotional image --
Fresco cycles --
Classical antiquity as a topos for the golden age --
Roma caput mundi --
Santa Maria del Popolo --
The Vatican Library portrait --
The Hospital of Santo Spirito --
The Sistine Chapel --
Sistine Chapel frescoes --
Innocent VIII and Alexander VI --
The Borgia apartments --
Cardinals' commissions --
The Cancelleria --
Commemorative monuments --
Milan: Ludovico il Moro and a grand classical style --
Completing visconti ecclesiastical foundations --
Santa Maria delle Grazie --
Leonardo da Vinci --
Madonna of the Rocks --
Leonardo at Ludovico's court --
Milan under foreign rule --
Continuity of fifteenth-century ideals --
Florence: the renewed republic and the return of the Medici --
The republic as patron --
Private patrons --
Public sculpture --
Mannerism --
Michelangelo and the Medici --
The Laurentian Library --
Rome: the imperial style under Julius II and the Medici popes --
A new St. Peter's --
The tomb of Julius II --
The Sistine ceiling --
The Stanza della Segnatura --
The portrait of Julius II --
The Stanza d'Eliodoro --
Leo X --
Raphael and Michelangelo --
Clement VII --
Venice: vision and monumentality --
Poetic altarpieces --
San Salvatore --
Ferrara, Mantua, and Parma: exquisite delights --
Ferrara: the private studiolo --
The Studio di Marmi --
The Camerino d'Alabastro --
Mantua: the pleasure palace --
The loves of Jupiter --
The courtier as artist --
Parma: elegance and illusionism --
Venice and Veneto: the city triumphant --
Sansovino: refashioning the city --
The Zecca --
The library --
The Loggetta --
The Palazzo Corner --
The Rialto Bridge --
Churches for monastic and state patrons --
Villas on the Venetian mainland --
Plague in Venice --
The Villa la Rotonda --
The Teatro Olimpico --
Titian: fashioning images of the international elite --
Mythology and sensuality for court sophisticates --
Colorito versus disegno --
Communicating religious values: Titian's late altarpieces --
Tintoretto's narrative imagery in the Scuole --
Celebrating the city triumphant --
Florence under Cosimo I --
Restructuring civic space: the Uffizi --
The Florentine Academy --
Roma restaurata: Paul III and Michelangelo --
Michelangelo's Last Judgment --
The Deposition --
Triumphalist history --
Urbi et orbi: the city --
The Capitoline Hill --
St. Peter's --
The Villa Giulia --
The demands of the Council of Trent --
Decrees on the arts --
Reform and censorship --
Veronese before the Inquisition --
Milan --
Ecclesiastical commissions --
Milanese churches --
Secular commissions --
Painting for the Gesù --
Women as patrons --
Gregory XIII --
San Stefano Rotondo --
Sixtus V and the replanning of Rome --
The obelisks --
Art, pilgrimage, and processions --
The Roman columns --
The Acqua Felice --
Santa Maria Maggiore --
Records of the patronage --
The Dome of St. Peter's.
Responsibility: John T. Paoletti & Gary M. Radke.


A glance at the pages of Art in Renaissance Italy shows at once its freshness and breadth of approach, which includes: How and why works at art, buildings, prints, and other kinds of art came to be; how men and women of the Renaissance regarded art and artists; and why works of Renaissance art look the way they do, and what this means to us. Unlike other books on the subject, this one covers not only Florence and Rome.

Here too are Venice and the Veneto, Assisi, Siena, Milan, Pavia, Padua, Mantua, Verona, Ferrara, Urbino, and Naples - each governed in a distinctly different manner, every one with its own political and social structures that inevitably affected artistic styles. Spanning more than three centuries, the narrative brings to life the rich tapestry of Italian Renaissance society and the art works that are its enduring legacy. Throughout, special features evoke and document the people and places of this dynamic age.

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