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Fifteenth-century Florence is generally considered the cradle of the modern architect. There, for the first time since Antiquity, the Vitruvian concept which distinguishes between builder and designer was recognised in architectural theory, causing a fundamental rupture in architectural practice. In this well-established narrative Northern Europe only followed a century later when, along with the diffusion of Italian treatises and the introduction of the all ntica style, a new type of architect began to replace traditional gothic masters. However, historiography has largely overlooked the important transformations in building organisation that laid the foundations for our modern architectural production, such as the advent of affluent contractors, public tenders, and specialised architectural designers, all of which happened in fifteenth-century Northern Europe. Drawing on a wealth of new source material from the Low Countries, this book offers a new approach to the transition from the Middle Ages to the Early Modern Period by providing an alternative interpretation to the predominantly Italo-centric perspective of the current literature, and its concomitant focus on style and on Vitruvian theory.--

Nederlanden --- History of the Low Countries --- Architecture --- architecture [discipline] --- anno 1400-1499 --- Architectural practice --- History --- Architects --- Architecture, Gothic --- Architecture, Renaissance --- Building trades --- Job descriptions --- Social networks --- Architect and client --- Architectural services --- Practice --- Vocational guidance --- Architectural practice - Netherlands - History - To 1500 --- Architectural practice - Netherlands - History - 15th century --- Architectural practice - Belgium - History - To 1500 --- Architectural practice - Belgium - History - 15th century --- architectuur, Nederlanden

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Architecture --- Architectural practice --- Neurenberg family --- 72 "15/17" --- 724.1 --- Natural stones. Other mineral materials --- Architectuur van de renaissance; barok; rococo en koloniale stijl--Nederland --- Architectuur van de renaissance; barok; rococo en koloniale stijl--België --- Architectuur. Bouwkunst--Moderne Tijd --- Arts Architecture Early Modern (1400 - 1800) --- Neurenberg family. --- 72 "15/17" Architectuur. Bouwkunst--Moderne Tijd --- 72.034 <493> Architectuur van de renaissance; barok; rococo en koloniale stijl--België --- 72.034 <492> Architectuur van de renaissance; barok; rococo en koloniale stijl--Nederland --- 691.2 Natural stones. Other mineral materials --- 720.9492 --- 691.2 --- 72.034 <492> --- 72.034 <493> --- Architect and client --- Architectural services --- Architecture, Dutch --- Arts Architecture Netherlands --- Practice --- Vocational guidance --- anno 1400-1499 --- anno 1600-1699 --- anno 1500-1599 --- Belgium --- Netherlands --- History --- quarries [extracting complexes] --- stonemasons --- Nederlanden --- Architecture - Netherlands --- Architecture - Belgium --- Architectural practice - Belgium --- economische geschiedenis --- architectuur, Nederlanden --- architecture [discipline]

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Villa Madama, Raphael's late masterwork of architecture, landscape, and decoration for the Medici popes, is a paradigm of the Renaissance villa. The creation of this important, unfinished complex provides a remarkable case study for the nature of architectural invention. Drawing on little known poetry describing the villa while it was on the drawing board, as well as ground plans, letters, and antiquities once installed there, Yvonne Elet reveals the design process to have been a dynamic, collaborative effort involving humanists as well as architects. She explores design as a self-reflexive process, and the dialectic of text and architectural form, illuminating the relation of word and image in Renaissance architectural practice. Her revisionist account of architectural design as a process engaging different systems of knowledge, visual and verbal, has important implications for the relation of architecture and language, meaning in architecture, and the translation of idea into form.

Renaissance --- Villa Madama [Rome] --- History of Italy --- humanism --- Architecture --- influence --- Raphael --- Sperulo, Francesco --- anno 1400-1499 --- anno 1500-1599 --- Rome --- Architecture, Renaissance --- Humanism in architecture --- Architectural practice --- Group work in architecture --- HISTORY / Renaissance. --- History --- Sperulo, Francesco, --- Influence. --- Criticism and interpretation. --- Friends and associates. --- Villa Madama (Rome, Italy) --- Rome (Italy) --- Buildings, structures, etc. --- architectuur, Italië --- Raphael,

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architects --- urban renewal --- History of the Low Countries --- Architecture --- anno 1500-1599 --- anno 1300-1399 --- anno 1400-1499 --- 72.03 --- 72 <09> --- 949.19 --- Bouwstijlen. Architectuurscholen. Architectuurstromingen. Bouwkunst: periodenen invloeden --- Architectuurgeschiedenis. Bouwgeschiedenis --- Geschiedenis van de Nederlanden, van de Benelux --- 949.19 Geschiedenis van de Nederlanden, van de Benelux --- 72 <09> Architectuurgeschiedenis. Bouwgeschiedenis --- 72.03 Bouwstijlen. Architectuurscholen. Architectuurstromingen. Bouwkunst: periodenen invloeden --- Architectural practice --- History --- architectuur, Nederlanden

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'Fleshing out surfaces' is the first English-language book on skin and flesh tones in art. It considers flesh and skin in art theory, image making and medical discourse in seventeenth to nineteenth-century France. Describing a gradual shift between the early modern and the modern period, it argues that what artists made when imitating human nakedness was not always the same. Initially understood in terms of the body's substance, of flesh tones and body colour, it became increasingly a matter of skin, skin colour and surfaces. Each chapter is dedicated to a different notion of skin and its colour, from flesh tones via a membrane imbued with nervous energy to hermetic borderline. Looking in particular at works by Fragonard, David, Girodet, Benoist and Ingres, the focus is on portraits, as facial skin is a special arena for testing painterly skills and a site where the body and the image become equally expressive.--

Skin --- Skin in art. --- Human skin color in art. --- Art, French --- Anatomy, Artistic. --- Art, Modern --- French art --- Ecole de Nice (Group of artists) --- Forces nouvelles (Group of artists) --- Nabis (Group of artists) --- Ne pas plier (Group of artists) --- Artistic anatomy --- Human anatomy in art --- Art --- Nude in art --- Human figure in art --- Medicine and art --- Proportion (Art) --- Cutis --- Integument (Skin) --- Beauty, Personal --- Body covering (Anatomy) --- Psychological aspects. --- Themes, motives. --- Skin in art --- Human figure in art. --- Peau dans l'art --- Couleur de la peau dans l'art --- Corps humain dans l'art --- Anatomie artistique --- Art français --- Human medicine --- skin [animal component] --- anno 1600-1699 --- anno 1700-1799 --- anno 1800-1899 --- France --- art theory, France 1600-1900. --- artistic anatomy 1700-1900. --- colour. --- flesh tones. --- history of the body. --- materiality. --- medical History, 1600-1900. --- painterly practice. --- painting, France 1700-1850. --- skin colour. --- skin.