The History Of Venetian Renaissance Sculpture Ca 1400 1530 Text And Comparative Illustrations

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. There is no aspect of the subject to which the author has not contributed major discoveries and her book, with its 800 illustrations, should constitute a work of reference long into the future.

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. There is no aspect of the subject to which the author has not contributed major discoveries and her book, with its 800 illustrations, should constitute a work of reference long into the future.

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. There is no aspect of the subject to which the author has not contributed major discoveries and her book, with its 800 illustrations, should constitute a work of reference long into the future.

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. There is no aspect of the subject to which the author has not contributed major discoveries and her book, with its 800 illustrations, should constitute a work of reference long into the future.

A comprehensive and richly illustrated survey of Venetian Renaissance architecture, sculpture, and painting created between 1400 and 1600 addressed to students, travellers, and the general public.

Venetian artistic giants of the sixteenth century, such as Giorgione, Vittore Carpaccio, Titian, Jacopo Sansovino, Jacopo Tintoretto, Paolo Veronese, and their contemporaries, continued to shape artistic development, tastes in collecting, and modes of display long after their own practices ended. The robust reverberation of the Venetian Renaissance spread far beyond the borders of the lagoon to inform and influence artists, authors, and collectors who spent very little or even no time in Venice proper. The Enduring Legacy of Venetian Renaissance Art investigates the historical resonance of Venetian sixteenth-century art and explores its afterlife and its reinvention by artists working in its shadow. Despite being a frequently acknowledged truism, the pervasive legacy of Venetian sixteenth-century art has not received comprehensive treatment in recent publication history. The broad scope of the topics covered in these essays, from Titian's profound influence on the development of landscape painting to the effects of Carpaccio's historical paintings on early twentieth-century fashion, illustrates the persistence and adaptability of the Venetian Renaissance's legacy. In addition to analyzing the effects of individual artists on each other, this volume offers insight into the shifting characterizations and reception of Venice as a center for artistic innovation and inspiration throughout the early modern period, providing a nuanced and multifaceted view of the singular lagoon city and its indelible imprint on the history of art.

Norbert Huse and Wolfgang Wolters provide the first contemporary single-volume survey of the three arts of Venice -- painting, sculpture, and architecture. They offer an important counterbalance to the traditional orientation toward painting as the city's preeminent art by focusing on architecture as the essential Venetian artistic medium. In the process, they define the distinctly Venetian terms by which the city and culture should be understood. Huse and Wolters begin their study with 1460, when Venice was one of the key powers of Italy, and end their discussion with the death of Tintoretto in 1594, a period of waning international power. Wolfgang Wolters outlines the city's development and present a typological survey of Venetian architecture. A review of sculptors and their works follows. Norbert Huse opens the next section, on painting, by describing the changed situation of painters at the end of the fifteenth century. He explores the different forms and functions of Venetian paintings in three distinct periods. With over three hundred illustrations and an exhaustive bibliography, this volume successfully fills a gap in art historical scholarship. -- From publisher's description.

Series statement from publisher's website.

This Is A New Release Of The Original 1910 Edition.