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RENAISSANCE ART (renaissance + art)
Kinds of RENAISSANCE ART Selected AbstractsHERCULES IN ITALIAN RENAISSANCE ART: MASCULINE LABOUR AND HOMOEROTIC LIBIDOART HISTORY, Issue 5 2008PATRICIA SIMONS Hercules was an exemplar of moral and civic virtue when represented in Italian Renaissance art. How he embodied masculinity, however, has not been explored. A popular but complicated figure, he visualized the burdens and tensions of idealized masculinity. By examining his battle against desire, as represented in his struggle with Antaeus, this article points to multivalence and varying receptions, from moralizing allegory to erotic fantasy. It concentrates on imagery from the ,Florentine Picture Chronicle', Pollaiuolo, Mantegna and his circle, and Michelangelo. [source] SIGNPOSTS OF INVENTION: ARTISTS' SIGNATURES IN ITALIAN RENAISSANCE ARTART HISTORY, Issue 4 2006PATRICIA RUBIN The opening lines of Dante Alighieri's Divine Comedy provide the starting point for a consideration of the ways that artists inscribed themselves within their works during the Renaissance. This is a matter both of signatures and of authorial complicity. This article examines how signatures were defined in the period and how they were used in a process of artistic definition. Conventions of inscription are outlined, and four particularly inventive instances (Fra Filippo Lippi, Donatello, Michelangelo and Titian) are considered in greater detail to show how artists' names could be used to direct the viewer's experience of their works and appreciation of their authorship. [source] Iacopo della Quercia scultore Sanese: late Medieval or early Renaissance artist?RENAISSANCE STUDIES, Issue 2 2007Helen Geddes The work of the Siena-born sculptor Jacopo della Quercia (b. c. 1370,75 , d. 1438) has often proved difficult to reconcile with early fifteenth-century artistic trends, and he has often been marginalised in mainstream assessments of early Italian sculpture. Quercia has commonly been perceived as anomalous, neither belonging wholly to the Trecento, nor conforming unequivocally to the characterization of a ,Renaissance' artist, despite being a contemporary of Donatello, Lorenzo Ghiberti, and Masaccio. This is a view compounded by his never having found patronage in Florence. The paper examines the changing critical reception of Quercia's sculptures, from the later fifteenth century, to Giorgio Vasari in the sixteenth, through to the modern literature, thus charting the changing perception of his art. An analysis of the extent to which his sculptural works conform to the preoccupations of Renaissance art, in his treatment of the human body, of perspective, the study of the antique, and in the study of nature, is presented. The paper argues that it is the somewhat artificial and limiting definitions imposed by art historical periods, and an emphasis on artists working in Florence, that have obscured and hindered direct appreciation and understanding of Quercia's great achievements. [source] HERCULES IN ITALIAN RENAISSANCE ART: MASCULINE LABOUR AND HOMOEROTIC LIBIDOART HISTORY, Issue 5 2008PATRICIA SIMONS Hercules was an exemplar of moral and civic virtue when represented in Italian Renaissance art. How he embodied masculinity, however, has not been explored. A popular but complicated figure, he visualized the burdens and tensions of idealized masculinity. By examining his battle against desire, as represented in his struggle with Antaeus, this article points to multivalence and varying receptions, from moralizing allegory to erotic fantasy. It concentrates on imagery from the ,Florentine Picture Chronicle', Pollaiuolo, Mantegna and his circle, and Michelangelo. [source] The patron's payoff: conspicuous commissions in Italian renaissance artECONOMIC HISTORY REVIEW, Issue 3 2009Melissa Meriam Bullard No abstract is available for this article. [source] | ||||||||||