Renaissance Art: A Very Short Introduction
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Artists like Botticelli, Holbein, Leonardo, Dürer, and Michelangelo and works such as the Last Supper fresco and the monumental marble statue of David, are familiar symbols of the Renaissance. But who were these artists, why did they produce such memorable images, and how would their original beholders have viewed these objects? Was the Renaissance only about great masters and masterpieces, or were women artists and patrons also involved? And what about the "minor" pieces that Renaissance men and women would have encountered in homes, churches and civic spaces? This Very Short Introduction answers such questions by considering both famous and lesser-known artists, patrons, and works of art within the cultural and historical context of Renaissance Europe. The volume provides a broad cultural and historical context for some of the Renaissance's most famous artists and works of art. It also explores forgotten aspects of Renaissance art, such as objects made for the home and women as artists and patrons. Considering Renaissance art produced in both Northern and Southern Europe, rather than focusing on just one region, the book introduces readers to a variety of approaches to the study of Renaissance art, from social history to formal analysis.
meant to attest to his courage and determination, with his wrinkles simply confirming that he must be wise and experienced as well. Such attributes would, of course, have been exactly what a man who was a famous condottiere, or professional army general, as well as a titled noble, would have wanted to project when commissioning this portrait. In fact, the writer Pietro Aretino assumed that the portrait as a whole and the various objects depicted within it were a kind of visual summary of the
Her very active patronage of artists, as well as her insatiable collecting habits, are extremely well documented by the more than 20,000 letters she wrote in the five decades before her death in 1539. From these letters, we know that, like her elite male contemporaries, she tried to buy the best antiquities she could afford and tried to hire the most famous artists of the day to work for her. By the end of her life, she had amassed an impressive collection of ancient artefacts and more ‘modern’
BIBLE John Riches BRITAIN Paul Langford BRITISH POLITICS THE ELEMENTS Philip Ball Anthony Wright EMOTION Dylan Evans Buddha Michael Carrithers EMPIRE Stephen Howe BUDDHISM Damien Keown ENGELS Terrell Carver CAPITALISM James Fulcher Ethics Simon Blackburn THE CELTS Barry Cunliffe The European Union CHOICE THEORY John Pinder Michael Allingham EVOLUTION CHRISTIAN ART Beth Williamson Brian and Deborah Charlesworth CHRISTIANITY Linda Woodhead FASCISM Kevin Passmore FOUCAULT Garry
artist – literally as well as metaphorically, as th of th seen in the cleaned Creation of Adam reproduced in the present e ar volume. tist an ‘Before’ and ‘after’ photographs of the restored frescos, which also d ar included Michelangelo’s Last Judgment on the chapel’s back wall, t hist document the dramatic changes that took place, with the artist or y transformed from the mad, bad, proto-Romantic genius of old into a very different kind of figure indeed. A number of prominent artists,
OF SCIENCE HIEROGLYPHS Penelope Wilson Samir Okasha HINDUISM Kim Knott PLATO Julia Annas HISTORY John H. Arnold POLITICS Kenneth Minogue HOBBES Richard Tuck POLITICAL PHILOSOPHY HUME A. J. Ayer David Miller IDEOLOGY Michael Freeden POSTCOLONIALISM Indian Philosophy Robert Young Sue Hamilton POSTMODERNISM Intelligence Ian J. Deary Christopher Butler ISLAM Malise Ruthven POSTSTRUCTURALISM JUDAISM Norman Solomon Catherine Belsey Jung Anthony Stevens PREHISTORY Chris Gosden