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Franklin's unprecedented examination of Vasari's work as a painter in relation to his vastly better-known writings fully illuminates these dual strands in Florentine art and offers us a clearer understanding of sixteenth-century painting in Florence than ever before." "The volume focuses on twelve painters: Perugino, Leonardo de Vinci, Piero di Cosimo, Michelangelo, Fra Bartolomeo, Ridolfo Ghirlandaio, Andrea del Sarto, Franciabigio, Rosso Fiorentino, Jacopo da Pontormo, Francesco Salviati and Giorgio Vasari."--BOOK JACKET.
Attempts to provide a comprehensive study of the paintings produced in Florence between circa 1100 and 1270 - the scope of the book ranges from early examples of medieval art to the generation of painters preceding Cimabue. All known works of the period are included accompanied by descriptions.
Author : Laurence B. Kanter Publisher : Metropolitan Museum of Art Page : 406 pages File Size : 15,73 MB Release : 1994 Category : Illumination of books and manuscripts, Italian ISBN : 0870997254
. By way of introduction to the objects themselves are three essays. The first, by Laurence B. Kanter, presents an overview of Florentine illumination between 1300 and 1450 and thumbnail sketches of the artists featured in this volume. The second essay, by Barbara Drake Boehm, focuses on the types of books illuminators helped to create. As most of them were liturgical, her contribution limns for the modern reader the medieval religious ceremonies in which the manuscripts were utilized. Carl Brandon Strehlke here publishes important new material about Fra Angelico's early years and patrons - the result of the author's recent archival research in Florence.
The first extended study of the painting of Florence and Siena in the later 14th century, this book presents a rich interweaving of considerations of connoisseurship, style, iconography, cultural and social background, and historical events.
The first extended study of the painting of Florence and Siena in the later 14th century, this book presents a rich interweaving of considerations of connoisseurship, style, iconography, cultural and social background, and historical events. -- From product description.
From one of Britain’s most respected and acclaimed art historians, art critic of The Guardian—the galvanizing story of a sixteenth-century clash of titans, the two greatest minds of the Renaissance, working side by side in the same room in a fierce competition: the master Leonardo da Vinci, commissioned by the Florentine Republic to paint a narrative fresco depicting a famous military victory on a wall of the newly built Great Council Hall in the Palazzo Vecchio, and his implacable young rival, the thirty-year-old Michelangelo. We see Leonardo, having just completed The Last Supper, and being celebrated by all of Florence for his miraculous portrait of the wife of a textile manufacturer. That painting—the Mona Lisa—being called the most lifelike anyone had ever seen yet, more divine than human, was captivating the entire Florentine Republic. And Michelangelo, completing a commissioned statue of David, the first colossus of the Renaissance, the archetype hero for the Republic epitomizing the triumph of the weak over the strong, helping to reshape the public identity of the city of Florence and conquer its heart. In The Lost Battles, published in England to great acclaim (“Superb”—The Observer; “Beguilingly written”—The Guardian), Jonathan Jones brilliantly sets the scene of the time—the politics; the world of art and artisans; and the shifting, agitated cultural landscape. We see Florence, a city freed from the oppressive reach of the Medicis, lurching from one crisis to another, trying to protect its liberty in an Italy descending into chaos, with the new head of the Republic in search of a metaphor that will make clear the glory that is Florence, and seeing in the commissioned paintings the expression of his vision. Jones reconstructs the paintings that Leonardo and Michelangelo undertook—Leonardo’s Battle of Anghiari, a nightmare seen in the eyes of the warrior (it became the first modern depiction of the disenchantment of war) and Michelangelo’s Battle of Cascina, a call to arms and the first great transfiguration of the erotic into art. Jones writes about the competition; how it unfolded and became the defining moment in the transformation of “craftsman” to “artist”; why the Florentine government began to fall out of love with one artist in favor of the other; and how—and why—in a competition that had no formal prize to clearly resolve the outcome, the battle became one for the hearts and minds of the Florentine Republic, with Michelangelo setting out to prove that his work, not Leonardo’s, embodied the future of art. Finally, we see how the result of the competition went on to shape a generation of narrative paintings, beginning with those of Raphael. A riveting exploration into one of history’s most resonant exchanges of ideas, a rich, fascinating book that gives us a whole new understanding of an age and those at its center.