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La mostra "Pietro Aretino e l'arte del Rinascimento" è dedicata a un artista, ma innanzitutto a un uomo, vissuto al centro delle cose nel pieno della "Maniera moderna", secondo la definizione di Giorgio Vasari nelle sue 'Vite', pubblicate nel 1550 e nel 1568. Il catalogo, come la mostra, è scandito in cinque sezioni che illustrano i principali momenti della vicenda di Pietro, e l'avvicendarsi di scenari che vanno dagli esordi tra Arezzo e Perugia, all'approdo alla corte pontificia e al trasferimento nel Nord Italia, dapprima a Mantova e, infine, a Venezia. L'iconografia della pubblicazione è particolarmente ricca, le schede di catalogo si avvalgono delle competenze di 50 autori di diversa estrazione.

Italian Renaissance-Baroque styles --- Aretino, Pietro

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Why did Renaissance art come to matter so much, so widely, and for so long? Patricia Emison's answer depends on a recalibrated view of the long Renaissance from 1300 to 1600 synthesizing the considerable evolution in our understanding of the epoch since the foundational 19th-century studies of Burckhardt and Wölfflin. Demonstrating that the imitation of nature and of antiquity must no longer define its limits, she exposes Renaissance style self-consciously modern aspect. She sets the art against the literary and political interests of the time, and analyzes works both of very familiar artists Leonardo, Michelangelo, and Raphael and of lesser-known figures, including Cima and Barocci. An understanding emerges of both the period's long-standing fame and its various historical debts. Moving beyond the Renaissance, Emison unfolds the varying and layered significance it has held from the Old Master era through Impressionism, Modernism, and Post-Modernism.

Italian Renaissance-Baroque styles --- art theory --- Art --- anno 1400-1499 --- anno 1500-1599 --- Italy --- Art, Renaissance --- Influence. --- Italie --- Renaissance --- Influence

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Italian Renaissance-Baroque styles --- Renaissance --- History of civilization --- anno 1200-1499 --- anno 1500-1599 --- Italy --- Intellectual life --- Social conditions --- Civilization --- Italiaanse school

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As the first comprehensive treatment of Venetian sculpture of the early Renaissance in nearly a century, this book examines the documents, literary sources, and oeuvre of all Venetian sculptors in stone, bronze, and wood between the decoration of the crowning of San Marco at the beginning of the fifteenth century and the artistic revolution wrought by Jacopo Sansovino from ca. 1530 on. Its text pays particular attention to the style of individual works, to their physical and artistic context, their sources and their influence, and synthesizes forty-five years of attentive looking, of research in archives and libraries of the Veneto, and hundreds of photographic campaigns throughout Italy and as far afield as Croatia and Poland - many from specially mounted scaffolds. The introduction treats general questions of material, purpose, patronage, the origin of sculptors, their workshop practices and the structure of guilds, while the conclusion considers ways in which Venetian sculpture was unique--jacquette

Sculpture, Renaissance Italy Venice --- Sculpture de la Renaissance --- Sculpture, Italian --- Sculpture, Renaissance --- Sculptors --- Biography --- Sculpture --- Italian Renaissance-Baroque styles --- anno 1500-1599 --- anno 1400-1499 --- Venice --- Venetiaanse school

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The altarpiece is one of the most distinctive and remarkable art forms of the Renaissance period. It is difficult to imagine an artist of the time - whether painter or sculptor, major or minor - who did not produce at least one. Though many have been displaced or dismembered, a substantial proportion of these works still survive. Despite the volume of material available, no serious attempt has ever been made to examine the whole subject in depth until now. 'The Italian Renaissance altarpiece' is the first comprehensive study of the genre to examine its content and subject matter in real detail, from the origins of the altarpiece in the 13th century to the time of Caravaggio in the early 1600s. It discusses major developments in the history of these objects throughout Italy, covers the three key categories of Renaissance altarpiece - 'immagini' (icons), 'historie' (narratives), and 'misteri' (mysteries) - and is illustrated with 250 beautiful reproductions of the artworks

Iconography --- altarpieces --- religious art --- Italian Renaissance-Baroque styles --- anno 1400-1499 --- anno 1500-1599 --- Italy --- Altarpieces, Renaissance --- Retables de la Renaissance