Overview

This work sets Italian Renaissance art in its context, exploring why it was created and who commissioned the palaces and cathedrals, the paintings and sculptures.

Full Product Details

Author:   John T. Paoletti ,  Gary M. Radke
Publisher:   Pearson Education (US)
Imprint:   Pearson
Edition:   4th edition
Dimensions:   Width: 22.00cm , Height: 2.40cm , Length: 29.10cm
Weight:   1.540kg
ISBN:  

9780205010479

ISBN 10:   0205010474
Pages:   576
Publication Date:   08 August 2011
Audience:   College/higher education ,  Undergraduate
Format:   Paperback
Publisher's Status:   Out of Print
Availability:   In Print  
Limited stock is available. It will be ordered for you and shipped pending supplier's limited stock.

Table of Contents

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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Author Information

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.    

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