ISBN-10: 1444337262

ISBN-13: 9781444337266

A spouse to Renaissance and Baroque Art presents a various, clean selection of obtainable, complete essays addressing key matters for ecu paintings produced among 1300 and 1700, a interval that may be termed the start of recent history.
• provides a set of unique, in-depth essays from paintings specialists that deal with numerous facets of ecu visible arts made from circa 1300 to 1700
• Divided into 5 vast conceptual headings: Social-Historical components in inventive creation; artistic method and Social Stature of the Artist; the thing: paintings as fabric tradition; The Message: topics and Meanings; and The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse
• Covers many issues now not in general incorporated in collections of this nature, reminiscent of Judaism and the humanities, architectural treatises, the worldwide Renaissance in arts, the hot average sciences and the humanities, paintings and faith, and gender and sexuality
• good points essays at the arts of the household existence, sexuality and gender, and the artwork and creation of tapestries, conservation/technology, and the metaphor of theater
• specializes in Western and relevant Europe and that territory's interactions with neighboring civilizations and far away discoveries
• comprises illustrations in addition to hyperlinks to photographs now not integrated within the book 

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Extra resources for A Companion to Renaissance and Baroque Art (Blackwell Companions to Art History, Volume 4)

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Between the early fifteenth and later sixteenth centuries, the family rose from the ranks of Florence’s merchant bankers to become virtual rulers of the city, cardinals and popes in Rome, and hereditary grand dukes of Tuscany. Much of the family’s power and fame derived from the social and political patronage that first established their faction, enabling them to maintain control, and from the artistic and cultural patronage that was central both to the fashioning of the family’s image and to the realization of its princely ambitions.

Org); the repair, ornamentation and extension of Old St. org). Popes, cardinals, and other members of the curia also patronized new churches like Santa Maria del Popolo in the Quattrocento and the Jesuits’ mother church, the Gesù, in the next century. In Rome early modern popes undertook numerous urban interventions, such as the opening of new streets to enhance movement and to accommodate pilgrims who flocked there during Holy Years. Papal patronage also provided public fountains such as Sixtus V’s Fontana dell’Acqua Felice (1585–88), which marked the terminus of a restored aqueduct.

4 Leon Battista Alberti, façade of Santa Maria Novella, detail, Florence, 1456–70. Photo by Niall Atkinson. ”36 Commemoration of self and lineage were primary motivations for patronage by individuals and families, whose coats-of-arms, inscriptions, and imprese proclaim their responsibility. ” As noted above, another important motivation was what A. D. ”37 For centuries, the name Medici has been practically synonymous with patronage of art. Between the early fifteenth and later sixteenth centuries, the family rose from the ranks of Florence’s merchant bankers to become virtual rulers of the city, cardinals and popes in Rome, and hereditary grand dukes of Tuscany.

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A Companion to Renaissance and Baroque Art (Blackwell Companions to Art History, Volume 4)


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