Art in Renaissance Italy: 1350-1500 (Oxford History of Art)
The Italian Renaissance was a pivotal period in the history of Western culture during which artists such as Masaccio, Donatello, Fra Angelico, and Leonardo created some of the world's most influential and exciting works in a variety of artistic fields. Here, Evelyn Welch presents a fresh picture of the Italian Renaissance by challenging traditional scholarship and placing emphasis on recreating the experience of contemporary Italians: the patrons who commissioned the works, the members of the public who viewed them, and the artists who produced them. Art in Renaissance Italy 1350-1500 dramatically revises the traditional story of the Renaissance and takes into account new issues that have greatly enriched our understanding of the period. From paintings and coins to sculptures and tapestries, Welch examines the issues of materials, workshop practices, and artist-patron relationships, and explores the ways in which visual imagery related to contemporary sexual, social, and political behavior.
Yellow-tin for gold, were not taking place. c. 1450-60. This manuscript written for was originally and illuminated Francesco and Bianca An Maria Sforza of Milan. astrological primer, this folio shows the occupations such as substitution of The public and professional nature of these enterprises ensured that, unlike in later centuries, almost all the artists considered in this book arc male. There were we have seen, documents show that a number of nuns were trained to provide.
Which you will praise Write down and send us the And decided to do he marvelled it our in greatly, and . names of the saints . . whom you wish on the base, first St Francis and then the others as you wish, up to five or six of them. 10 There has been considerable debate over the level of artistic freedom in some art historians arguing paramount and others seeing the devel- the fourteenth and fifteenth centuries with that the patron's interests were opment of the artist's.
Binding which was broken undertaken in anticipation some else (there It could, seem to have for, journey help received was however, be commuted been semi-professional pilgrims by the fifteenth century) to undertake the voyage or by getting permission from a bishop or the pope to accept an offering of cash instead. Once a pilgrim or his or her substitute had arrived at a shrine it common practice to make a donation of either wax or some other valuable and those who held authority.
Protestant attempts to reform the Church fall outside es written cash. the remit of this book's chronology 164 THE SACRED SETTING it is important to realize that many of the ways in which specifically ationship, behaviour, saints. In in an earlier period were and attitude towards works of art, 1538, a royal England which informed to was redeemed or significantly modified in the sixteenth cen- This painful process dramatically changed viewers' physical tury. and sin.
Monastic refectory, one used later in the century by Leonardo da Vinci in the Dominican refectory of Santa Maria delle Grazie in Milan; Castagno's earlier version was also set within a fictive space whose perspectival geometry mimicked that ot the hall Itself as the painted windows continued the line of the room's actual windows. At the front of the image, the traitor Judas was thrust forward, remind- ing the women of the ease with which Christ could he betrayed, while the Apostles ranged.