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Optical Corrections in the Sculpture of Donatello by Robert Munman Pdf
There is considerable evidence for Donatello's use of optical corrections that scholars have largely ignored. It may come in some degree from an unwillingness to accept the idea that such visual effects, developed only in the 16th century & not common until the Baroque, were even possible in the early Renaissance. This study, by its arguments & its photographic evidence, may reopen the discussion of optical corrections in the work of Donatello &, perhaps, in that of some of his contemporaries & followers as well. Contents: Introduction; Donatello's Sculpture in the Round; The Reliefs; Bibliography of Frequently Cited Sources; & 64 black & white photos of Donatello's sculptures.
Donatello and the Dawn of Renaissance Art by A. Victor Coonin Pdf
The Italian sculptor known as Donatello helped to forge a new kind of art—one that came to define the Renaissance. His work was progressive, challenging, and even controversial. Using a variety of novel sculptural techniques and innovative interpretations, Donatello uniquely depicted themes involving human sexuality, violence, spirituality, and beauty. But to really understand Donatello, one needs to understand his changing world, marked by the transition from Medieval to Renaissance style and to an art that was more personal and representative of the modern self. Donatello was not just a man of his times, he helped shape the spirit of the times he lived in and profoundly influenced those that came after. In this beautifully illustrated book—the first thorough biography of Donatello in twenty-five years—A. Victor Coonin describes the full extent of Donatello’s revolutionary contributions, revealing how his work heralded the emergence of modern art.
Storytelling in Christian Art from Giotto to Donatello by Jules Lubbock Pdf
Recounting the biblical stories through visual images was the most prestigious form of commission for a Renaissance artist. In this book, Jules Lubbock examines some of the most famous of these pictorial narratives by artists of the caliber of Giovanni Pisano, Duccio, Giotto, Ghiberti, Brunelleschi, Donatello and Masaccio. He explains how these artists portrayed the major biblical events, such as: the Sacrifice of Isaac, the Annunciation, the Feast of Herod and the Trial and Passion of Jesus, so as to be easily recognizable and, at the same time, to capture our attention and imagination for long enough to enable us to search for deeper meanings. He provides evidence showing that the Church favoured the production of images that lent themselves to being read and interpreted in this way, and he describes the works themselves to demonstrate how the pleasurable activity of deciphering these meanings can work in practice. This book is richly illustrated, and many of its photographs have been specially taken to show how the paintings and relief sculptures appear in the settings, for which they were originally designed. Seen from these viewpoints, they become more readily intelligible. Likewise, the starting point and the originality of Lubbock's interpretations lies in his accepting that these works of art were primarily designed to help people to reflect upon the ethical and religious significance of the biblical stories. The early Renaissance artists developed their highly innovative techniques to further these objectives, not as ends in themselves. Thus, the book aims to appeal to students, scholars and the general public, who are interested in Renaissance art and to those with a religious interest in biblical imagery.
All the Sculpture of Donatello by Donatello,Luigi Grassi Pdf
Donatello never ceased experimenting, even in his last sculptures, and Professor Grassi discusses some of the implicatins of his new expression. A complete index of the artist's work by location, a discussion of lost and attributed works, and selections form criticism throughout various periods complete the presentation of all of Donatello's sculpture.
Memory and Medieval Tomb by Elizabeth Valdez Del Alamo,Carol Stamatis Pendergast Pdf
This title was first published in 2000: Reverent memorial for the dead was the inspiration for the production of a significant category of artworks during the Middle Ages - artworks aimed as much at the laity as at the clergy, and intended to maintain, symbolically, the presence of the dead. Memoria, the term that describes the formal, liturgical memory of the dead, also includes artworks intended to house and honour the deceased. This book explores the ways in which medieval Christians sought to memorialize the deceased: with tombs, cenotaphs, altars and other furnishings connected to a real or symbolic burial site. A dozen essays analyze strategies for commemoration from the 4th to the 15th century: the means by which human memory could be activated or manipulated through the interaction between monuments, their setting, and the visitor. Building upon from the growing body of literature on memory in the Middle Ages, the collection focuses on the tomb monument and its context as a complex to define what is to be remembered, to fix memory, and to facilitate recollection. Remembering depended upon the emotionally charged interaction between the visitor, the funerary monument, strategically placed images or inscriptions, the liturgy and its participants. Commemorative artworks may consolidate social bonds as well as individual memory, as put forth in this volume. Parallels are drawn between mnemonic devices utilized in the Middle Ages, the design of monuments and contemporary scientific research in cognitive neuropsychology. The papers were originally presented at the 1994 meetings of the College Art Association and the International Congresses of Medieval Studies at Western Michigan University, Kalamazoo, and the University of Leeds, England, in 1995.
In The Place of the Viewer, Kerr Houston offers a richly detailed chronological overview of art historians’ evolving attempts to account for the physical position of the viewer in discussing works of art.
Piero Della Francesca by Judith Veronica Field,Piero Pdf
Studie over de wiskundige kennis van de renaissanceschilder (ca. 1416-1492) en over het belang van de exacte wetenschap in de betreffende kunstperiode.
The Bedside Baccalaureate: the Second Semester by David Rubel Pdf
Offers a different learning experience, intending to place facts within the framework of knowledge and containing 20 courses created by experts in their fields with the intention of making the topics accessible and entertaining.
Sienese Renaissance Tomb Monuments by Robert Munman Pdf
The first scholarly study to treat the sepulchral memorials of Quattrocento Siena in a comprehensive way. These works include contributions by such noted sculptors as Jacopo della Quercia, Il Vecchietta, Neroccio de'Landi, Giovanni di Stefano, & Urbano da Cortona, as well as a number of monuments by assorted anonymous followers of Donatello. Some of these works, most notably Quercia's tomb for Ilaria del Carretto, occupy well-recognized places in the history of Italian sculpture. But various others, many of significant artistic importance as well as sociological interest, are presented here for the first time. In addition to a thorough catalogue of all traceable figured memorials from Renaissance Siena & its artistic dependecies, Prof. Robert Munman takes up such problems as the formal devt. of several sepulchral types produced there, the cultural & historical context of such tombs in general, & the attitudes of patronage that, given Siena's rich artistic resources, produced fewer of these monuments than one would have expected. Illus.
This volume has its origins in 'Depth of Field: Relief in the Time of Donatello', a unique collaboration between the Victoria and Albert Museum and the Henry Moore Institute in Leeds, and the first exhibition to focus specifically on relief sculpture.
Demonstrating the influence of optical science on medieval relief sculpture, this groundbreaking book reveals that the concepts that informed the codification of perspective by Renaissance painters were already being employed by sculptors centuries earlier.
Making Renaissance Art by Kim Woods,Carol M. Richardson,Angeliki Lymberopoulou Pdf
This book explores key themes in the making of Renaissance painting, sculpture, architecture, and prints: the use of specific techniques and materials, theory and practice, change and continuity in artistic procedures, conventions and values. It also reconsiders the importance of mathematical perspective, the assimilation of the antique revival, and the illusion of life. Embracing the full significance of Renaissance art requires understanding how it was made. As manifestations of technical expertise and tradition as much as innovation, artworks of this period reveal highly complex creative processes--allowing us an inside view on the vexed issue of the notion of a renaissance.
Art, Design, Craft, Beauty and All Those Things... by Donald Richardson Pdf
Responding to many recent calls for redress and restitution, Richardson summarises the historical and current situation and attributes its problematics to the fact that theorists and historians have taken the concept art as a generic that includes both design and craft – which are actually and validly distinguishable from art by application of the concept function/al – or else ignored the two entirely. Considering the concept function/al, he maintains, calls into question the view that the three may be sub-classes of the one class: whereas in a work of art, typically there is a resolution of the tension between form and content, in works of design and craft the resolution is between form and function. How this recognition can clarify the issue informs the entire book. The book’s other major thesis is the realisation that aesthetic values are inherently human and that, therefore, they apply not only to art but to life in general. Far from being frivolous or a mere ‘emotion’, the aesthetic is a sense of equivalent psychic status to sight and hearing and, like them, is employed at almost every moment of our daily lives – which fact grounds art, design and craft deeply in human life. This is reflected in the universal use of the human form (including the exhibition of sexual characteristics) in art. The eternal conflict between making art and making a living from making art is examined and contrasted to the rarely-recognised, but positive, role of design in planning and industry. Richardson also critiques common theories of representation and composition, including ‘creativity’, Albertian perspective and scientific and geometric theories of beauty and composition; also the relevance of the camera and the computer in the field.
