A new edition―now in two volumes―of the largest and most comprehensive textbook about Italian Renaissance art
Now in its second edition, Italian Renaissance Art presents an updated and even more accessible history. The book has been split into two volumes: the first, covering the period 1300 to 1510; the second, 1490 to 1600. The volumes retain the same innovative decade-by-decade structure as the first edition, and a number of chapters have been revised by the authors to reflect the latest scholarship. The coverage of the Trecento has been expanded, and a new appendix section explains all the key Renaissance art-making techniques, with illustrations and step-by-steps for such processes as lost-wax casting. This book tells the story of art in the great cities of Rome, Florence, and Venice while profiling a range of other centers throughout Italy―including in this edition art from Naples, Padua, and Palermo.
Author(s): Stephen J. Campbell, Michael W. Cole
Edition: 2
Publisher: Thames & Hudson
Year: 2017
Language: English
Pages: 722
City: London
Cover (Italian Renaissance Art Second Edition)
Front Matter
Title Page
Copyright
Contents
Preface to the First Edition
Preface to the Second Edition
Introduction
Looking Back, Looking Forward
New Technologies and Theories of Art
Word and Image
The Book and Its Structure
1 1300–1400 The Trecento Inheritance
Political Geography and the Arts
Architecture and Place
The Pisano Family:
The New Architectural Sculpture
Giotto: The Painter and the Legend
Mural Painting: The “Upper Church” at Assisi
Private Patronage: The Arena Chapel
The Bardi Chapel
Devotional Imagery: Siena
Duccio’s Maestà
Sienese Art after Duccio
Art and the State
The Image of the Sovereign: Bologna and Naples
Signoria and Comune: Verona and Siena
Art and Devotion after Giotto
Cult Images and Devotional Life
Painting after the Black Death
Giotto’s Legacy
2 1400–1410
The Cathedral and the City
Campanilism
The Cathedrals of Florence and Milan
Competition at Florence Cathedral
Lorenzo Ghiberti, Filippo Brunelleschi, and the Commission for the Baptistery Doors
Ghiberti’s First Doors
Marble Sculpture for the Cathedral:
Nanni di Banco and Donatello
Jacopo della Quercia and the Fonte Gaia
3 1410–1420 Commissioning Art: Standardization, Customization, Emulation
Orsanmichele and Its Tabernacles
Nanni di Banco’s St. Philip
Donatello’s St. Mark
Figure and Niche
Customizing the Altarpiece:
The Coronation of the Virgin
Filippo Brunelleschi and the
Foundling Hospital
4 1420–1430
Perspective and Its Discontents
The Centrality of Florence
Lorenzo Ghiberti and Brunelleschi at the
Baptistery
New Technologies
Linear Perspective, Regular Space
Perspective and Narrative
Donatello and Ghiberti
Masaccio, Masolino, and the Brancacci Chapel
Masaccio’s Trinity
The Brunelleschian Model and Its
Alternatives
5 1430–1440
Practice and Theory
Painting Panels and Frescoes
The Centrality of Disegno
Cennino Cennini
Pisanello and the Humanists
Leon Battista Alberti: A Humanist Theory of Painting
Paolo Uccello
Inventing Antiquity
An Emperor in Italy
The cantorie of Donatello and Luca della Robbia
Jacopo Bellini and the Transformation of
the Modelbook
6 1440–1450
Palace and Church
The Sacred and the Profane
Donatello’s Doors for San Lorenzo
San Marco
Fra Angelico and the Invention of the Unified Altarpiece
Fra Angelico’s Frescoes
The Florentine Altarpiece after 1440
Fra Filippo Lippi
Domenico Veneziano
Andrea del Castagno and the Convent of
Sant’Apollonia
The all’antica Tomb
The Private Palace
Ambitious Building in Florence and Venice
Luxury and Humility: Donatello’s Statues for the Medici Palace
Inside the Florentine Palace
Civic Patronage and the Church:
Venice and Padua
Donatello in Padua
Siena: Civic and Sacred Space
Palermo: from Palace to Hospital
The Vatican Papacy and the Embellishment
of St. Peter’s
7 1450–1460
Rome and Other Romes
The Model City
Architecture and Urbanism under Nicholas V
Fra Angelico at the Vatican
The Courts of Naples and Rimini
Alfonso Looks North
The “Tempio” of Rimini
Agostino di Duccio and the Sculptural Decoration of the Tempio
Padua
Andrea Mantegna’s Beginnings
Donatello’s Gattamelata
Pius II: Rome and Pienza
Alberti on Architecture
8 1460–1470
Courtly Values
What Is Court Art?
Ferrara and the Court of Borso d’Este
Astrological Imagery in the Palazzo Schifanoia
Borso’s Bible
The Sforza Court in Milan
Filarete
The Portinari Chapel
Courtly Imitation
Mantegna, Alberti, and the Gonzaga Court
Mantegna’s Camera Picta
Alberti in Mantua
Urbino: The Palace of Federico da
Montefeltro
Courtly Values in Cities without Courts
Florence: Chapel Decorations in the Medici Palace
Arezzo: Piero della Francesca’s Story of the True Cross
9 1470–1480
What Is Naturalism?
The Flemish Manner
The Medici and Bruges
The Court of Urbino
Italian Responses: Piero della Francesca
Oil Painting
Antonello da Messina and Giovanni Bellini: Light as Actor
Life Study
Leonardo da Vinci’s Beginnings
Nature and the Classical Past
Beauties beyond Nature
10 1480–1490
Migration and Mobility
Portable Art
Canvas and Bronze: Mantegna, Bertoldo, Pollaiuolo
Engravings and Drawings
Artists on the Move
Italy and the Ottomans
Florentine Bronze Sculptors in Venice
and Rome
Verocchio, Leonardo, and the Equestrian Monument
Pollaiuolo and the Papal Tomb
Florentine Painters in Rome: The Sistine
Chapel Frescoes
Leonardo Goes to Milan
11 1490–1500
The Allure of the Secular
From the Margins to the Center
The Studiolo of Isabella d’Este and
Mythological Painting
Corporate Devotion
Ghirlandaio’s Tornabuoni Chapel
Bellini’s Paintings for the Scuola di San Giovanni Evangelista
The World Ends
Savonarolan Florence
Filippino Lippi between Rome and Florence
Judgment Day in Orvieto, “Last Things”
in Bologna
Leonardo in Sforza Milan
Leonardo and Sacred Painting
Michelangelo: Early Works in Marble
Florence
Rome
12 1500–1510
Human Nature
The Heroic Body and Its Alternatives
Michelangelo’s David
Leonardo and Michelangelo in Florence
Depicting the Holy Family
Leonardo vs. Michelangelo: Battle Paintings for the Great Council Hall
Motions of the Body and Motions of the Mind: Leda and Mona Lisa
Raphael’s Beginnings
Activating the Altarpiece: The Perugia Entombment of Christ
Rome: A New Architectural Language
The New St. Peter’s
The Sistine Ceiling
The Vatican Palace
Eloquent Bodies: Raphael and the Stanza della Segnatura
Venice
Foreigners in the City
Giorgione and the Young Titian
13 1510–1520
The Workshop and the “School”
Raphael and His Team 1512–20
The Villa Chigi
Later Frescoes in the Vatican Stanze
Printmaking and Tapestries
Sculpture and Architecture
Altarpieces
Raphael, Sebastiano del Piombo, and Michelangelo
Raphael and the Portrait
Michelangelo’s Sculptures for the
Julius Tomb
The Florentine “Schools”
The School of San Marco: Fra Bartolomeo and Mariotto Albertinelli
The School of the Annunziata: Andrea del Sarto, Jacopo Pontormo, and Rosso Fiorentino
Titian and the Camerino of Alfonso d’Este
Titian’s Bacchanals
14 1520–1530
The Loss of the Center
The Sala di Costantino
Rome after Raphael: Making a Reputation
Giulio Romano
Parmigianino
Rosso Fiorentino
The Allure of Printmaking
Florence
Michelangelo’s Return to Sculpture
Pontormo
Lombardy and Venice
Correggio in Parma Cathedral
Correggio and Lorenzo Lotto: Altarpieces
Lorenzo Lotto as a Portraitist
Titian: Two Altarpieces
Pordenone in Cremona Cathedral
The Sack of Rome in 1527
15 1530–1540
Dynasty and Myth
The Della Rovere in Urbino
The Gonzaga in Mantua
Palazzo del Tè
Correggio’s Mythologies
The Medici in Florence
Michelangelo’s New Sacristy
The Image of the Autocrat
Andrea Doria in Genoa
Rome under the Farnese
Urbanism under Paul III
Michelangelo’s Last Judgment
16 1540–1550 Literate Art
The Painting of History
Facility and Grace: Salviati and Bronzino at the Medici Court
The Monumental Fresco in Rome: Perino del Vaga
Michelangelo’s Gift Drawings and the Pietà
The Rise of Vernacular Art Theory
Italians Abroad: Fontainebleau
The City Square
The Shaping of Venetian Public Space
Urbanism in Genoa
Rome: The Capitoline Hill
Painting without Poetry
Titian between Pope and Emperor
Bronzino’s State Portraits
Michelangelo: The Pauline Chapel
17 1550–1560
Disegno/Colore
Titian and Rome
Titian and the Hapsburgs
Tintoretto’s Challenge to Titian
Design and Production: Florence and Rome
Tapestry and Goldsmithery
Architecture of the Vasari Circle
Interpreting Michelangelo
Daniele da Volterra
Pellegrino Tibaldi
Out of Italy
Sofonisba Anguissola
The Leoni
Giorgio Ghisi and Cornelis Cort
18 1560–1570
Decorum, Order, and Reform
Alessandro Moretto and Giovanni Moroni:
Reform Tendencies on the Eve of Trent
Michelangelo’s Last Judgment,
Twenty Years Later
The Jesuits and the Reform of
Church Architecture
Princes of the Church and Their Villas
Villa Farnese
The Casino of Pius IV
Villa Lante
Villas in the Veneto: Andrea Palladio
The “Sacro Bosco” at Bomarzo
Bologna, Florence, and Rome in the Time of
Pius IV and Pius V
Educational Reform in Florence: The Accademia del Disegno
The Florentine Church Interior
The Arts in Transition
19 1570–1580
Art, the People, and the
Counter-Reformation Church
Two Reforming Archbishops
Bologna: Gabriele Paleotti
Milan: Carlo Borromeo
Venice in the 1570s
Veronese on Trial
Palladio’s Redentore
Three Confraternities
Venice: The Scuola Grande di San Rocco
Arezzo: The Confraternity of the Misericordia
Rome: The Oratory of the Gonfalone
Architecture and Urbanism in
Counter-Reformation Rome
New St. Peter’s
Streets, Squares, and Fountains
The Image of the People
The Rise of Genre Painting
The Universe of Labor in the Studiolo of Francesco I
20 1580–1590
A Sense of Place
Gardens and Grottos
The Bolognese New Wave
The Carracci Canon
Art from Life in the Carracci Academy
Altarpieces and the Question of Portraiture
Lavinia Fontana
The “Holy Mountain” at Varallo
Mapping Rome
The Vatican Hall of Maps
Urbanism in Rome under Sixtus V
Center and Periphery
Obelisks and Columns
The Place of Giambologna’s Abduction of the Sabine
21 1590–1600
The Persistence of Art
Church Humanism, Church Archaeology
A New Geography
Regional Distinctions: Florence and Bologna
Nepotism and Networks in Rome
Galleries and Collectable Art
Three Paths, c. 1600
The Carracci at the Palazzo Farnese
Federico Zuccaro: Making Disegno Sacred
The Provocations of Caravaggio
Caravaggio and the Church
After 1600
Italian Renaissance Materials
and Techniques
Chronology of Rule 1400–1600:
Key Centers
Glossary
Bibliographical Notes and
Suggestions for Further Reading
Sources of Quotations
Picture Credits
Index
