- ISBN: 9780205010479 | 0205010474
- Cover: Paperback
- Copyright: 6/29/2011
KEY BENEFIT: A glance at the pages of Art in Renaissance Italyshows at once its freshness and breadth of approach, which includes thorough explanation into how and why works of art, buildings, prints, and other forms of visual production came to be. The authors also discuss how men and women of the Renaissance regarded art and artists, 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, but also 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 individual, 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 that is its enduring legacy. Throughout, special features, including textual sources from the period and descriptions of social rituals, evoke and document the people and places of this dynamic age. The book covers the art and artists of Italy during the Renaissance ;Florence, Rome, Milan, Venice, Naples and other regions, from the 13ththrough the 16thcenturies. For Renaissance art enthusiasts and others interested in the art of Italy's Renaissance.
John T. Paoletti is Kenan Professor of the Humanities, Emeritus and Professor of Art History, Emeritus at Wesleyan University in Middletown, Connecticut. He has published widely on the patronage of the Medici family in Florence and on Michelangelo. He has also written on art since 1945. He was formerly editor of The Art Bulletin of the College Art Association.
Gary M. Radke is a renaissance specialist and Dean’s Professor of the Humanities at Syracuse University and a Fellow of the American Academy in Rome. He has published on 13th-century Italian architecture, 15th-century sculpture, and the patronage of nuns in Renaissance Venice.
IN THIS SECTION:
1.) BRIEF
2.) COMPREHENSIVE
BRIEF TABLE OF CONTENTS:
Preface 10
Introduction: Art in Context 12
Part I: The Late Thirteenth and the Fourteenth Century 46
Chapter 1 The Origins of the Renaissance 48
Chapter 2 Rome: Artists, Popes, and Cardinals 56
Chapter 3 Assisi and Padua: Narrative Realism 67
Chapter 4 Florence: Traditions and Innovations 78
Chapter 5 Siena: City of the Virgin 99
Chapter 6 Naples: Art for a Royal Kingdom 122
Chapter 7 Venice: The Most Serene Republic 136
Chapter 8 Pisa and Florence: Social Upheaval 153
Chapter 9 Visconti Milan and Carrara Padua 174
Part II: The Fifteenth Century 200
Chapter 10 Florence: Commune and Guild 202
Chapter 11 Florence: The Medici and Political Propaganda 249
Chapter 12 Rome: Re-establishing Papal Power 286
Chapter 13 Venice: Affirming the Past and Present 311
Chapter 14 Courtly Art: The Gothic and Classic 333
Chapter 15 Sforza Milan: Ducal Splendor 362
Part III: The First Half of the Sixteenth Century 384
Chapter 16 Florence: The Renewed Republic 386
Chapter 17 Rome: Julius II, Leo X, and Clement VII 396
Chapter 18 Florence: Mannerism and the Medici 424
Chapter 19 Mantua, Parma, and Genoa: The Arts at Court 439
Chapter 20 Venice: Vision and Monumentality 451
Part IV: The Later Sixteenth Century 486
Chapter 21 The Rome of Paul III 488
Chapter 22 Northern Italy: Reform and Innovation 501
Chapter 23 Florence under Cosimo I 517
Chapter 24 Rome: A European Capital City 531
Genealogies 548
List of Popes 553
List of Venetian Doges 553
Time Chart 554
Glossary 556
Bibliography 558
Literary Credits, Picture Credits 566
Index 567
COMPREHENSIVE TABLE OF CONTENTS:
Preface 10
Introduction: Art in Context 12
Contemporary Scene: Art and Offerings 14
Patronage 16
Artists’ Workshops 17
The Image of the Artist 17
Contemporary Voice: An Artist’s Life 18
Workshop Training 20
Contracts 21
Materials and Methods 22
The Painting Studio 22
Wall Painting 22
Tempera and Oil Painting 24
Mosaic and Stained Glass 26
The Sculpture Workshop 27
Contemporary Voice: Terms of Employment 27
Bronze Sculpture 31
Drawings 32
Architecture 33
Other Workshops 34
Print Media 35
Renovations and Restorations 35
Historiography and Methodology 41
Vasari’s Three Ages 41
Contemporary Voice: Fashioning the Female Artist 42
Naming the Renaissance 43
Part I: The Late Thirteenth and the Fourteenth Century 46
Chapter 1 The Origins of the Renaissance 48
St. Francis and the Beginnings of Renaissance Art 48
Francis of Assisi 49
Contemporary Voice: Francis as Another Christ 50
The San Damiano Crucifix: Christus triumphans 50
Christus patiens 50
Defining St. Francis 52
St. Clare 53
Style and Meaning 53
Urban Contexts 55
Types of Cities 55
Chapter 2 Rome: Artists, Popes, and Cardinals 56
Rome’s Revival under Nicholas III 57
The Sancta Sanctorum 58
Nicholas IV at Santa Maria Maggiore 59
Contemporary Scene: Art and Miracles 60
Patrons from the Papal Curia 62
Pope Boniface VIII and an Imperial Language of Power 64
Creating Images for an Absent Papacy 65
Chapter 3 Assisi and Padua: Narrative Realism 67
Frescoes in San Francesco 69
Nave Frescoes 69
Contemporary Voice: St. Francis and the Christ Child 70
Padua: The Scrovegni Chapel 72
Chapter 4 Florence: Traditions and Innovations 78
St. John the Baptist and the Baptistry 80
The Palazzo della Signoria and Urban Planning 81
Mendicant Churches 83
Santa Croce and Santa Maria Novella 83
Altarpieces Dedicated to the Virgin 84
Cimabue’s Altarpiece for Santa Trinita 84
Duccio’s Altarpiece for the Confraternity of the Laudesi 85
Giotto’s Ognissanti Madonna 86
Santa Croce Frescoes 86
The Bardi Chapel 87
The Peruzzi Chapel 89
The Baroncelli Chapel 90
Altarpieces for Santa Croce 93
The Santa Croce Refectory Frescoes 94
The Cathedral Complex 95
Andrea Pisano’s Baptistry Doors 96
Chapter 5 Siena: City of the Virgin 99
The Cathedral 100
The Pulpit 101
The Façade 102
Duccio’s Maestà 103
Contemporary Voice: The Procession of the Maestà 104
Altarpieces in the Transept Chapels 106
Later Sienese Altar Painting 109
The Palazzo Pubblico 111
Simone Martini’s Maestà for the Palazzo Pubblico 111
Lippo Memmi’s Maestà for San Gimignano 112
Contemporary Scene: Art and Popular Piety 112
Secular Imagery in the Scala del Consiglio 114
The Sala della Pace: “Good Government” 114
Siena’s Political System and Civic Art 118
Painting in the Palazzo Pubblico 118
Enhancements to the Campo 120
Chapter 6 Naples: Art for a Royal Kingdom 122
The Court and the Importation of Artists 122
Consolidating Angevin Rule: A Queen’s Commissions 126
Cavallini and Giotto in Naples 127
Robert of Anjou 128
The Altarpiece of St. Louis 128
Sancia of Majorca and the Church of Santa Chiara 130
Tomb Monuments and Robert the Wise 131
The Tomb of Mary of Hungary 131
The Tomb of Robert of Anjou 132
The End of the Angevin Dynasty in Naples 132
Queen Giovanna II and the Monument to King Ladislas 135
The Caracciolo Chapel 135
Chapter 7 Venice: The Most Serene Republic 136
St. Mark’s Basilica 138
Piazza San Marco 138
Images of the State and the Individual 140
Doge Andrea Dandolo 141
Enhancements to St. Mark’s 141
The Pala d’Oro 141
Contemporary Voice: The Image as Document 143
St. Mark’s Baptistry 143
The Choir Screen 144
The Façade 145
The Church of Santi Giovanni e Paolo 145
The Tomb of Doge Michele Morosini 146
The Doge’s Palace 146
Contemporary Scene: Art and Violence 147
Santo Stefano 147
Sculpture on the Doge’s Palace 148
Painting in the Doge’s Palace 150
Chapter 8 Pisa and Florence: Social Upheaval 153
The Camposanto Frescoes in Pisa 153
Santa Maria Novella in Florence 156
The Strozzi Chapel 156
The Strozzi Altarpiece 157
The Guidalotti Chapel 159
The Apotheosis of St. Thomas Aquinas 159
The Way of Salvation 161
Social Upheaval and Civic Works in Florence 163
Contemporary Voice: The Bridge of Salvation 163
Or San Michele 166
Family Commissions 168
The Legend of the True Cross 169
Frescoes at San Miniato 170
Other Civic Imagery 171
Domestic Painting 173
Chapter 9 Visconti Milan and Carrara Padua 174
Milan: The Visconti Court 174
Azzone Visconti and the Idea of Magnificence 176
Contemporary Voice: In Praise of Magnificence 177
Azzone Visconti’s Tomb 178
Embellishment of the City 178
The Altarpiece of the Magi 180
The Equestrian Monument of Bernabò Visconti 181
The Cansignorio della Scala Monument in Verona 182
The Castello Visconteo 183
Manuscript Illumination 183
Padua: The Carrara Court 184
Contemporary Scene: Art and Gastronomy 185
The Padua Baptistry 187
Contemporary Voice: Illustrious Men 188
Patronage at the Santo 188
The St. James (San Felice) Chapel 188
St. Anthony of Padua 189
The Oratory of St. George 190
Milan: Giangaleazzo Visconti 190
The Certosa of Pavia 191
Cathedral Architecture 191
Cathedral Sculpture 194
The International Gothic Style 194
Manuscript Illumination 195
Michelino da Besozzo 196
Secular Frescoes 197
The Last Visconti and the Durability of the
International Style 198
Part II: The Fifteenth Century 200
Chapter 10 Florence: Commune and Guild 202
Sculpture for the Cathedral Complex 202
The Competition for the Second Baptistry Doors 203
Contemporary Voice: Ghiberti versus Brunelleschi 205
Buttress Sculpture 207
Façade Sculpture 210
Or San Michele 210
Brunelleschi and Florentine Civic Architecture 215
The Foundling Hospital 215
The Dome of the Cathedral 216
Contemporary Scene: Art and Childbirth 217
Contemporary Voice: In Praise of Artists 218
Family Commissions 219
The Bartolini-Salimbeni Chapel 220
The Strozzi Chapel at Santa Trinita 223
The Quaratesi Altarpiece 223
Masaccio’s Pisa Aaltarpiece 224
Altarpieces at Mid-Century 225
Masaccio: The Brancacci Chapel and Narrative Fresco Cycles 228
The Trinity and Single-Point Perspective 232
Castagno at Sant’Apollonia 234
Excursus: The Impact of Florentine Art Outside the City 235
Ghiberti and Donatello in Siena 235
Quercia in Bologna 237
Piero della Francesca in Arezzo 238
Civic Commemoration in Florence 240
Monument to Sir John Hawkwood 240
The Cantorie 242
The Tomb of Leonardo Bruni 244
The Gates of Paradise 245
Chapter 11 Florence: The Medici and Political Propaganda 249
The Medici’s Civic and Domestic Commissions 250
San Lorenzo 250
The Old Sacristy 251
San Marco 254
The Medici Palace 256
Contemporary Voice: A Job Application 256
Portrait Busts 258
The Medici Chapel 259
Other Decorations 260
Excursus: Donatello in Padua 262
The Santo Altarpiece 262
The Gattamelata Monument 263
The Medici and Donatello’s Late Work 264
Donatello’s Bronze David and Judith and Holofernes 264
The San Lorenzo Pulpits 267
The Golden Age and Lorenzo the Magnificent 268
The Tomb of Piero and Giovanni de’ Medici 269
The Mercanzia Niche at Or San Michele 269
The Devotional Image 270
Family Chapels 273
The Sassetti Chapel 273
The Strozzi Chapel 275
Portraiture 276
The Architecture of Magnificence 277
The Façade of Santa Maria Novella 277
The Strozzi Palace 278
Classical Antiquity and the Golden Age 279
Antiquarianism 282
Savonarola and Reform 284
Chapter 12 Rome: Re-establishing Papal Power286
Martin V, Eugenius IV, and Nicholas V 286
A Cautionary Fresco 287
The Papal Basilicas 287
Santa Maria Maggiore 287
St. Peter’s 288
The Vatican Palace 290
Contemporary Voice: Ruins and Dreams 291
Pius II 292
Cardinals’ Commissions 295
Pienza 296
Paul II 297
Palazzo Venezia 297
A Roman School of Painting 298
Sixtus IV: Roma Caput Mundi 299
The Papal Family 300
The Hospital of Santo Spirito 300
Roman Churches 300
Santa Maria del Popolo 300
Sant’Agostino 302
Commemorative Monuments 302
The Cancelleria 303
The Sistine Chapel 303
Innocent VIII and Alexander VI: Power and Pleasure 306
Cardinals’ Commissions 308
The Carafa Chapel 308
Contemporary Scene: Art and the Collector 309
Michelangelo’s Pietà 310
Chapter 13 Venice: Affirming the Past and Present 311
Sculpture on the Doge’s Palace 311
The Palazzo Foscari 312
The Ca’ d’Oro 313
Contemporary Voice: Finishing Touches 314
The Cappella Nova 316
The Vivarini School 317
Jacopo Bellini 317
The Cappella Nova in the Late 1440s 319
Venice: Heir of East and West 320
The Arsenal 320
Religious Architecture 320
Painting 322
The Scuole and Lay Commissions 327
Commemorative State Commissions 330
Chapter 14 Courtly Art: The Gothic and Classic 333
Ferrara: The Este Family 333
Medals for Leonello d’Este 333
Pisanello in Verona 334
Contemporary Voice: Praise for Pisanello 335
Contemporary Scene: Art and Punishment 336
Borso d’Este 337
Borso’s Bible 337
The Palazzo Schifanoia 338
The Palazzo dei Diamanti 339
Naples: A New Aragonese Dynasty 340
Donatello and Michelozzo in Naples 340
Alfonso the Magnanimous: Military and Humanist Ruler 340
The Castello Aragonese 341
An Arch for a Humanist Ruler 343
Rimini: Sigismondo Malatesta 344
Urbino 347
Portraits 347
Altarpieces 348
The Palazzo Ducale 348
Mantua: The Gonzaga Family 351
Sant’Andrea 351
The Palazzo Ducale 352
The Sala Pisanello 352
Andrea Mantegna, Court Artist 354
Prior Experience in Padua and Verona 354
The Camera Picta 356
Male and Female Decorum 359
Contemporary Voice: Fighting for Chastity 360
Chapter 15 Sforza Milan: Ducal Splendor 362
The Sforzas 362
Completing Visconti Ecclesiastical Foundations 363
The Certosa 363
The Cathedral 364
Private Commissions 365
Ludovico il Moro and a Grand Classical Style 367
Santa Maria presso San Satiro 367
Santa Maria delle Grazie 367
Leonardo da Vinci 371
The Last Supper 371
Contemporary Voice: A Man of Many Talents 372
Madonna of the Rocks 373
Leonardo at Ludovico’s Court 374
Instability and Religious Fervor in the Milanese Court 375
Leonardo at Court 376
Commemorative Commissions 377
Alternatives to Leonardo 378
Part III: The First Half of the Sixteenth Century 384
Chapter 16 Florence: The Renewed Republic 386
The Republic as Patron 386
A New Civic Hero: Michelangelo’s David 387
Sculpture at the Cathedral 388
The Imagery of State 388
The St. Anne Altarpiece 389
The Battle Paintings 390
Private Patrons 392
Portraits 392
Religious Painting 394
Chapter 17 Rome: Julius II, Leo X, and Clement VII 396
The Imperial Style under Julius II 396
A New St. Peter’s 397
The Tomb of Julius II 398
The Sistine Ceiling 401
Contemporary Voice: Michelangelo the Poet 404
Contemporary Voice: Art and Dissent 407
The Stanza della Segnatura 409
Roman Civic Imagery 411
The Stanza d’Eliodoro 412
Portraits 413
Contemporary Voice: The Courtier as Artist 414
Leo X: Papal Luxury 415
The Stanza dell’Incendio 415
The Sistine Tapestries 415
The Suburban Villa and Sybaritic Pleasure 417
Raphael and Michelangelo 421
Clement VII: The Dissolution of Papal Power 421
Chapter 18 Florence: Mannerism and the Medici 424
Emerging Transformations of the Classical Style 424
A New Social Order 426
Domestic and Villa Decoration 428
Altarpieces 431
Michelangelo and the Medici 433
The Medici Chapel 433
The Laurentian Library 436
Chapter 19 Mantua, Parma, and Genoa: The Arts at Court439
Mantua: The Pleasure Palace 439
The Loves of Jupiter 442
Parma: Elegance and Illusionism 443
Correggio at San Paolo and the Cathedral 443
Parmigianino and Self-Conscious Artifice 444
Genoa: A Princely Republic 447
Doria Portraits 447
Villa Doria 448
Genoa in the Second Half of the Sixteenth Century 449
Chapter 20 Venice: Vision and Monumentality 451
Visual Poetry 452
Eroticism and Antiquity 453
Poetic Altarpieces 455
Energized Altarpieces 457
Tullio Lombardo: Classicism for Ecclesiastical Patrons 460
Venetian Artists Working for Alfonso d’Este 461
The Studio di Marmi 461
The Camerino d’Alabastro 462
Titian in Urbino 464
Refashioning the City Triumphant 466
The Zecca 466
The Library 467
The Loggetta 467
The Palazzo Corner 468
Titian: Images for the International Elite 468
The Vendramin Family 468
Charles V 469
Mythology and Sensuality 470
Colorito versus Disegno 470
Titian: The Artist as his Own Patron 472
Narrative Imagery in the Scuole 473
Celebrating the City in the Doge’s Palace 475
Patronage of Commercial and Ecclesiastical Projects 476
The Fabbriche Nuove 479
The Rialto Bridge 479
Palladio 480
San Giorgio Maggiore 480
The Redentore 481
Contemporary Voice: Plague in Venice 481
Villa Barbaro 482
The Villa La Rotonda 484
The Teatro Olimpico 485
Part IV: The Later Sixteenth Century 486
Chapter 21 The Rome of Paul III 488
Michelangelo’s Last Judgment 488
Contemporary Voice: A Word of Advice 489
The Deposition 493
Triumphalist History 493
Urbi et Orbi: The City 496
The Capitoline Hill 496
St. Peter’s 498
Private Commissions 499
The Villa Giulia 499
The Farnese Hours 500
Chapter 22 Northern Italy: Reform and Innovation 501
The Council of Trent and Decrees on the Arts 502
Reform and Censorship 503
Milan and Lombardy 503
Contemporary Voice: Veronese Before the Inquisition 504
Devotional Painting 505
Milanese Architecture 507
Bergamo, Cremona, and Bologna 509
Portraiture 510
Still-Life Painting 514
Chapter 23 Florence under Cosimo I 517
Portraits 517
The Chapel of Eleonora of Toledo 519
Church Reform and Local Politics 521
Art as a Symbol of the Advanced State 524
A Dynasty Supported by History and Myth 524
Contemporary Voice: Casting the Perseus 526
Restructuring Civic Space: The Uffizi 527
The Sala del Gran Consiglio 528
The Florentine Academy 529
Chapter 24 Rome: A European Capital City 531
New Religious Orders 531
The Gesù 531
Painting for the Gesù 533
San Stefano Rotondo 535
Sixtus V and Replanning Rome 537
Urban Monuments 539
The Obelisks 539
The Roman Columns 540
The Acqua Felice 540
Papal Basilicas 541
Santa Maria Maggiore 541
Contemporary Scene: Art, Pilgrimage, and Processions 542
The Dome of St. Peter’s 544
Women as Patrons 545
Continuity and Change 546
Genealogies 548
List of Popes 553
List of Venetian Doges 553
Time Chart 554
Glossary 556
Bibliography 558
Literary Credits, Picture Credits 566
Index 567
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