Renaissance art reconsidered: an anthology of primary sources
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Malden, MA [u.a.]
Blackwell [u.a.]
2007
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XVI, 449 S. 24 cm |
| ISBN: | 9781405146401 9781405146418 |
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Datensatz im Suchindex
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| adam_text | Renaissance
Art
Reconsidered
An Anthology of Primary Sources
Edited by Carol M. Richardson, Kim W. Woods and
Michael W. Franklin
9
||
ágk
Blackwell
Ě I
ψβ
Publishing
Blackwell Publishing in
association with The Open University
Contents
Notes
on Contributors
xiii
Preface
xv
Introduction
1
PART I: MAKING RENAISSANCE ART
3
Drawing and Workshop Practice
5
1-1.1
Cennino Cennini on drawing
6
1.1.2
Alberti
on drawing figures
8
1.1.3
Francesco Squarcione details the drawing regime for his
pupils
9
1.1.4
Gerard
Horenbout
takes on two apprentices
10
1Л.5
A master s duty of care for his apprentices
13
1.1.6
Leonardo da Vinci on drawing
15
1.1.7
Dürer
gives drawings as gifts and uses them to pay day-to¬
day expenses
18
1-1.8
Dürer
lists the qualities required to be a painter
22
1-1.9
Joachim Camerarius praises
Dürer s
drawings
23
Linear Perspective
29
1-2.1
Cennino Cennini s method for depicting buildings in a
painting
30
1-2.2
Alberti
and the earliest written description of single-point
perspective
31
1.2.3
Lorenzo Ghiberti lists the sources for perspective
41
1.2.4
Filarete s method for making drawings of buildings
43
1.2.5
Piero della Francesca s
perspective for painters
47
vi
Contents
1.2.6
Manettľs
descriptions
of Brunelleschi s experiments
49
1.2.7
Leonardo da Vinci on single-point and aerial perspective
51
Sculpture
59
1.3.1
Posthumous inventory of
Tournai
sculptor Colart
le
Cat
60
1.3.2
Michelozzo and
Donatello
are contracted to make the
Prato
Pulpit
62
1.3.3
Report on Donatello s progress on the
Prato
pulpit
65
1.3.4
The Brussels painters guild claims exclusive rights to
market painted works of art
66
1.3.5
Extracts from
De Statua
by
Leon Battista Alberti
68
1.3.6 1470
regulations of the Antwerp Guild of St Luke
71
1.3.7
Utrecht sculptor Adriaen van
Wesel
makes a carved
altarpiece for the Confraternity of Our Lady,
s-Hertogenbosch
74
Architecture
79
1.4.1
Filarete s system of architecture
80
1.4.2
Brunelleschi s practice of architecture
85
Panel Painting
91
1.5.1
Cennino Cennini s instructions on how to paint drapery
in a fresco painting
92
1.5.2
Cennino Cennini s instructions on how to acquire the skills
to paint on panel
93
1.5.3
Cennino Cennini s instructions on how to prepare and size
a panel
95
1.5.4
Cennino Cennini s instructions on how to paint on panel
96
1.5.5
Contract for Sassetta s Madonna
della Neve
altarpiece
98
1.5.6
Valuation of Sassetta s Madonna
della Neve
altarpiece
101
1.5.7
A fee is fixed for the Madonna
della Neve
altarpiece
102
1.5.8
Final valuation of Sassetta s Madonna
della Neve
altarpiece
104
1.5.9
Contract for Enguerrand Quarton s Coronation of the Virgin
altarpiece
106
Prints and Printmaking
113
1.6.1
An ordinance from the
Stadsarchief, Leuven,
concerning the
printmaker Jan van den Berghe
114
1.6.2
The hard business of printing
115
1.6.3
A printer tries to protect his creative rights
119
Contents
vii
1.6.4 Dürer s
letter
to Jakob Heller
122
1.6.5
A letter from block-cutter Jost
de Negker
to Maximilian I
124
1.6.6
The purchase of the contents of an Antwerp printer s
workshop
127
1.6.7
Erasmus s eulogy on
Dürer 128
1.6.8
Robert Peril s agreement regarding the manufacture of
playing cards in Antwerp
131
1.6.9
Vasari s
life of
Marcantonio
Raimondi
133
Treatises, Histories, Artists and Education
137
1.7.1
Lorenzo Ghiberti on the education required for making
sculpture
138
1.7.2
Two Florentine views of art history:
(1)
Antonio Manetti
143
1.7.3
Two Florentine views of art history:
(2)
Leonardo da Vinci
146
1.7.4
Books known or owned by Leonardo da Vinci
147
1.7.5
Courtiers discuss the merits of painting and sculpture
152
PART II: LOCATING RENAISSANCE ART
157
Florence and Rome
159
2.1.1
Domenico Veneziano
looks for work in Florence
160
2.1.2
The contract for wall paintings at the Sistine Chapel
161
2.1.3
The valuation of the first four narratives at the Sistine
Chapel
163
2.1.4
Botticelli pursues outstanding payments for his work in the
Sistine Chapel
164
2.1.5
Filippino
Lippi works for Cardinal
Carafa
in Rome at
Lorenzo
de
Medici s suggestion
165
2.1.6
Filippino
Lippi explains to
Filippo Strozzi
why he has gone
to Rome I66
2.1.7
The Duke of Milan s agent reports on Florentine artists
168
2.1.8
Michelangelo s letter to Lorenzo
de Pierfrancesco de
Medici from Rome
169
2.1.9
A dialogue between Florence and Rome against Savonarola
170
2.1.10
A cultural tourist describes some of the sites in Rome
177
Netherlandish Networks 179
2.2.1
Pero Tafur s
impressions of the Netherlands in the 1430s
180
2.2.2
Lluis Dalmau is contracted to make an altarpiece for the
councillors chapel in Barcelona 183
viii Contents
2.2.3
Ciriaco
d Ancona s comments on a Deposition triptych by
Rogier van
der Weyden 186
2.2.4
Bartlomeo Facio s description of the work of Jan van Eyck
and Rogier van
der
Weyden
187
2.2.5
Marcantonio Michiel
records Netherlandish paintings in the
homes of collectors in Venice and Padua in the early
sixteenth century
190
2.2.6
Pietro
Summonte describes works by Jan van Eyck and
Rogier van
der
Weyden in Naples
193
Tapestries
197
2.3.1
Statutes of the Tapestry-Makers Guild in Brussels
198
2.3.2
The
Signoria
of Florence recommends a weaver from
Bruges
204
2.3.3
A dispute between the Painters Guild and the Tapestry-
Makers Guild
205
Siena
207
2.4.1
Ghiberti s admiration for early Sienese art
208
2.4.2
The commissioning of the reconstructed altar and
altarpiece for the
Cappella dei Signori
211
2.4.3
Aeneas Silvius
Piccolomini
and international politics
213
2.4.4
Pius II s canonization of Saint Catherine of Siena
217
2.4.5
Pius
Iľs
description of his cathedral in Pienza and its
interior
218
The Post-Byzantine Renaissance
223
2.5.1
The will of the painter Angelos Akotantos
224
2.5.2
Ioannes Akotantos sells the drawings of his brother, Angelos
Akotantos
228
2.5.3
Contract to teach the art of painting in the workshop of
Ioannes Akotantos
229
2.5.4
Contract to teach the art of painting in the workshop of
Andreas
Pavías
230
2.5.5
Andreas Pavias intervenes to secure the return of an icon
painted by Angelos Akotantos
231
2.5.6
The commission of the Venetian ruler of Nauplio for a
pala d altare
231
Contents ix
2.5.7
On the making of anthibola (imprinted cartoons)
234
2.5.8
How to plaster a wall
235
Venice
237
2.6.1
From the Mariegola (rule-book) of the Mercers company in
Venice
238
2.6.2
Gentile Bellini undertakes the decoration of the Grand
Council chamber
240
2.6.3
Gentile Bellini is sent on a mission to Constantinople
241
2.6.4
Giovanni Bellini is contracted to decorate the Grand
Council chamber
242
2.6.5
Giovanni Bellini is exempted from duties in the painters
guild
243
2.6.6
Alvise Vivarini s petition to work on the decoration of the
Grand Council chamber
243
2.6.7
Marin
Sañudo,
from Praise of the City of Venice
245
2.6.8
From the Memoirs of Philippe
de Commynes
248
2.6.9
From
Pietro Casola s
account of a pilgrimage to Jerusalem
250
2.6.10
The Bellini brothers are contracted to work at the
Scuola
Grande
di San
Marco
251
2.6.11
Gentile Bellini agrees to continue work at the
Scuola
Grande
di San
Marco
253
2.6.12
Giovanni Bellini is contracted to complete his brother s
work
253
2.6.13
Dürer s
correspondence on Venice, and on Venetian art and
artists
255
2.6.14
From Francesco Sansovino, Dialogue on All the Notable
Things which are in Venice
259
Architectural Treatises 261
2.7.1
Vitruvius ideas on architecture
262
2.7.2
Alberti
improves on Vitruvius
267
PART III: VIEWING RENAISSANCE ART 281
Art, Class and Wealth 283
3.1.1
Treasures in the ducal chapel of Charles the Bold, Duke of
Burgundy 284
χ
Contents
3.1.2
The camera
grande
of Doctor
Bartolo
di Tura
288
3.1.3
Luxury goods in the rooms of Lorenzo the Magnificent
291
Views on Art in Florence
305
3.2.1
The Florentine merchant Giovanni Rucellai discusses his
spending
306
3.2.2
A coppersmith describes the festivities in Florence for St
John the Baptist
309
3.2.3
Fra Girolamo
Savonarola warns Florentines against the
dangers of the new type of painting
311
3.2.4
The cloth merchants guild commission a new sculpture for
the Florentine Baptistery
315
3.2.5
A meeting about where to place Michelangelo s David
317
Illuminated Manuscripts
325
3.3.1
The manuscripts in the library of the Duke of Urbino
326
3.3.2
The contract between Attavante and a Florentine merchant
for an illuminated manuscript
329
3.3.3
The chequered history of the
Sforza
Hours
332
3.3.4
The preface to Sala s poetry book
335
Art and Monarchy in France
339
3.4.1
The tomb of Louis XI
340
3.4.2
Bourdichon: Painter to the King
341
3.4.3
Jean Robertet s poem about the worst painter in the world
345
3.4.4
Henri
Baude:
Moral Sayings for Making Tapestries
347
3.4.5
Jean Lemaire
de Belges
349
3.4.6
Jean Perréal de
Paris: painter and poet
352
3.4.7
Michel Colombe s contract for a tomb project at Brou
355
3.4.8
The travel journal of Antonio
de Beatis
357
The Market in Icons
363
3.5.1
John of Damascus on images
364
3.5.2
The will of Andreas Cornaros
370
3.5.3
Three Cretan painters are commissioned to make
700
icons
of the Virgin
371
3.5.4
Contract for employment of a painter in the workshop of
another
373
3.5.5
Contract for employment of a painter in the workshop of
another
374
Contents xi
3.5.6 Commision
for
10 triptychs 375
3.5.7
Vasari s
views on the Greek style
376
Art and Death
379
3.6.1
Leonardo
Bruni
condemns the tomb of the poet
Bartolommeo Aragazzi
380
3.6.2
John Lydgate s version of The Dance of Death for the
cloister of St Paul s Cathedral, London
382
3.6.3
The foundation statutes of the chantry at Ewelme
393
3.6.4
The will of John
Baret
of Bury St Edmunds
396
3.6.5
The choice of artist for the monument to Cardinal
Niccolo
Forteguerri in Pistoia
400
3.6.6
Cardinal Francesco Todeschini
Piccolomini
prepares for his
death
402
3.6.7
The wills of the Catholic Monarchs , Isabella and
Ferdinand
405
The Reform of Images
409
3.7.1
Andreas
Karlstadt,
On the removal of images
410
3.7.2
Extract from Hieronymus Emser s response to
Karlstadt 414
3.7.3 Ulrich Zwingli s
criticisms of religious images
416
3.7.4
Zurich council orders the removal of images from churches
418
3.7.5
Luther states his own position on religious images
419
3.7.6
Sir Thomas More defends the use of images
422
3.7.7
William Tyndale responds to Sir Thomas More
425
List of Sources and Acknowledgements
429
Index
437
|
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| author2 | Richardson, Carol M. 1969- Woods, Kim W. |
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| edition | 1. publ. |
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| indexdate | 2024-07-09T23:29:54Z |
| institution | BVB |
| isbn | 9781405146401 9781405146418 |
| language | English |
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| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Blackwell [u.a.] |
| record_format | marc |
| spelling | Renaissance art reconsidered an anthology of primary sources ed. by Carol M. Richardson, Kim W. Woods ... 1. publ. Malden, MA [u.a.] Blackwell [u.a.] 2007 XVI, 449 S. 24 cm txt rdacontent n rdamedia nc rdacarrier Geschichte 1400-1530 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Künstler (DE-588)4033423-5 gnd rswk-swf Sozialgeschichte (DE-588)4055772-8 gnd rswk-swf Quelle 1400-1530 Künstler Selbstverständnis (DE-588)4135952-5 Quelle gnd-content Kunst (DE-588)4114333-4 s Geschichte 1400-1530 z DE-604 Künstler (DE-588)4033423-5 s Sozialgeschichte (DE-588)4055772-8 s Richardson, Carol M. 1969- (DE-588)132571722 edt Woods, Kim W. (DE-588)132571765 edt KUBIKAT Anreicherung application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022868281&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Renaissance art reconsidered an anthology of primary sources Kunst (DE-588)4114333-4 gnd Künstler (DE-588)4033423-5 gnd Sozialgeschichte (DE-588)4055772-8 gnd |
| subject_GND | (DE-588)4114333-4 (DE-588)4033423-5 (DE-588)4055772-8 (DE-588)4135952-5 |
| title | Renaissance art reconsidered an anthology of primary sources |
| title_auth | Renaissance art reconsidered an anthology of primary sources |
| title_exact_search | Renaissance art reconsidered an anthology of primary sources |
| title_full | Renaissance art reconsidered an anthology of primary sources ed. by Carol M. Richardson, Kim W. Woods ... |
| title_fullStr | Renaissance art reconsidered an anthology of primary sources ed. by Carol M. Richardson, Kim W. Woods ... |
| title_full_unstemmed | Renaissance art reconsidered an anthology of primary sources ed. by Carol M. Richardson, Kim W. Woods ... |
| title_short | Renaissance art reconsidered |
| title_sort | renaissance art reconsidered an anthology of primary sources |
| title_sub | an anthology of primary sources |
| topic | Kunst (DE-588)4114333-4 gnd Künstler (DE-588)4033423-5 gnd Sozialgeschichte (DE-588)4055772-8 gnd |
| topic_facet | Kunst Künstler Sozialgeschichte Quelle |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022868281&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT richardsoncarolm renaissanceartreconsideredananthologyofprimarysources AT woodskimw renaissanceartreconsideredananthologyofprimarysources |