Practice and Theory in the Italian Renaissance Workshop: Verrocchio and the Epistemology of Making Art, Christina Neilson

Автор: Ladis Andrew, Wood Carolyn, Eiland William U.
Название: The Craft of Art: Originality and Industry in the Italian Renaissance and Baroque Workshop
ISBN: 0820349941 ISBN-13(EAN): 9780820349947
Издательство: Mare Nostrum (Eurospan)
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Описание: In this collection of nine essays some of the preeminent art historians in the United States consider the relationship between art and craft, between the creative idea and its realization, in Renaissance and Baroque Italy. The essays, all previously unpublished, are devoted to the pictorial arts and are accompanied by nearly 150 illustrations. Examining works by such artists as Michelangelo, Titian, Volterrano, Giovanni di Paolo, and Annibale Carracci (along with aspects of the artists' creative processes, work habits, and aesthetic convictions), the essayists explore the ways in which art was conceived and produced at a time when collaboration with pupils, assistants, or independent masters was an accepted part of the artistic process.The consensus of the contributors amounts to a revision, or at least a qualification, of Bernard Berenson's interpretation of the emergent Renaissance ideal of individual ""genius"" as a measure of original artistic achievement: we must accord greater influence to the collaborative, appropriative conventions and practices of the craft workshop, which persisted into and beyond the Renaissance from its origins in the Middle Ages. Consequently, we must acknowledge the sometimes rather ordinary beginnings of some of the world's great works of art--an admission, say the contributors, that will open new avenues of study and enhance our understanding of the complex connections between invention and execution.With one exception, these essays were delivered as lectures in conjunction with the exhibition The Artists and Artisans of Florence: Works from the Horne Museum hosted by the Georgia Museum of Art in the fall of 1992.

Автор: Butterfield Andrew
Название: Verrocchio: Sculptor and Painter of Renaissance Florence
ISBN: 0691183368 ISBN-13(EAN): 9780691183367
Издательство: Wiley
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The first 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 the first 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

Exhibition Schedule
National Gallery of Art, Washington, DC
September 15, 2019-January 12, 2020

Автор: Itay Sapir
Название: Tenebres sans lecons: Esthetique et epistemologie de la peinture tenebriste romaine 1595-1610
ISBN: 3034306350 ISBN-13(EAN): 9783034306355
Издательство: Peter Lang
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Описание: Vers l'an 1600, la peinture s'obscurcit. Caravage, mais aussi son confr re allemand Adam Elsheimer, inventent Rome un nouveau r gime pictural, o le noir sans nuances limite le champ du visible, et se substitue la richesse visuelle spectaculaire des images de la Renaissance. Des strat gies artistiques astucieuses mettent en question la transparence de la fameuse fen tre, par laquelle Alberti voulait que l'on regarde la peinture.
Cette r volution artistique, souvent expliqu e comme l' mergence d'un nouveau r alisme ou encore travers les doctrines de la Contre-r forme, est ici tudi e dans le contexte des tendances sceptiques qui connaissent en Europe un regain d'int r t, apr s deux si cles d'humanisme triomphant. Les questions th oriques, toujours d'actualit , autour du lien entre le visuel, la repr sentation et le savoir, sont ainsi clair es sous un nouveau jour.
Les analyses minutieuses des tableaux c toient dans T n bres sans le ons une lecture philosophique et rh torique des crits contemporains de Giordano Bruno, Montaigne, Shakespeare et Cervant s; de m me, les peintures t n bristes sont reli es aux innovations scientifiques de Galil e et aux d buts de la musique baroque.