Italian Renaissance Art: Understanding its Meaning
Christiane L. Joost-Gaugier
Richly illustrated, and featuring detailed descriptions of works by pivotal figures in the Italian Renaissance, this enlightening volume traces the development of art and architecture throughout the Italian peninsula in the fifteenth and sixteenth centuries.
- A smart, elegant, and jargon-free analysis of the Italian Renaissance – what it was, what it means, and why we should study it
- Provides a sustained discussion of many great works of Renaissance art that will significantly enhance readers’ understanding of the period
- Focuses on Renaissance art and architecture as it developed throughout the Italian peninsula, from Venice to Sicily
- Situates the Italian Renaissance in the wider context of the history of art
- Includes detailed interpretation of works by a host of pivotal Renaissance artists, both well and lesser known
London/Art Resource, NY.) Figure 2.15 Bartolomeo di Tommaso, Stigmatization of Saint Francis, Mount Holyoke College Art Museum. (Mount Holyoke College Art Museum, South Hadley, Massachusetts, Bequest of Caroline R. Hill. Photograph: Laura Shea, 1965.52.P.PI.) Though essentially all the figures in Piero’s painting – human and angelic – are divine, they all stand firmly on the ground. Of this there is no doubt. Piero has mastered the idea of describing simple forms with monumentality and.
To Saint Peter, Rome, Musei Vaticani (Sistine Chapel). (Photo credit: Scala/Art Resource, NY.) In a work painted about a decade later for a monastery in Florence, Perugino demonstrated that even in the Florence of the Medici he could construct a scene that is without any of the fashionable clutter of ornamental attachments or frills so popular in the work of his contemporaries there. In his fresco of the Crucifixion (fig. 5.21) painted in about 1492, Perugino used the white of the actual.
There. His later work at Rome would confirm the highest and most idealized possibilities of his new naturalism. Though the High Renaissance in Rome was expressed in numerous commissions, perhaps the most symbolic of the perfection which it sought can be found in Bramante’s Tempietto (fig. 6.7). Meanwhile, in Venice, Giorgione, whose young life was cut off prematurely, and especially his associate Titian, accomplished a different classical style, more purely optical and more based on the possible.
Piero di Cosimo as a “charming” artist (e.g. Erwin Panofsky, “The Early History of Man in Two Cycles of Paintings by Piero di Cosimo,” in Panofsky, Studies in Iconology (1939), New York, 1972, 33), others, especially recently, have tended to recognize his unique importance. On this see Dennis Geronimus, Piero di Cosimo Visions Beautiful and Strange, New Haven and London, 2006. 2 The other scenes include one representing a Forest Fire, now in the Ashmolean Museum at Oxford, another representing.
Way. The circulation of prints – still a relatively new form of art – proved highly interesting to Italian artists. They received inspiration from Northern European prints that were collected in artists’ workshops throughout Italy. Northern Europe was another place that had not experienced a rational Renaissance development. Thus, the ideas that light might be dubious instead of certain and clear, that shading might be violent instead of naturalistic, that the structure of figures could be frail.