Art in Renaissance Italy: 1350-1500 (Oxford History of Art)
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The Italian Renaissance was a pivotal period in the history of Western culture during which artists such as Masaccio, Donatello, Fra Angelico, and Leonardo created some of the world's most influential and exciting works in a variety of artistic fields. Here, Evelyn Welch presents a fresh picture of the Italian Renaissance by challenging traditional scholarship and placing emphasis on recreating the experience of contemporary Italians: the patrons who commissioned the works, the members of the public who viewed them, and the artists who produced them. Art in Renaissance Italy 1350-1500 dramatically revises the traditional story of the Renaissance and takes into account new issues that have greatly enriched our understanding of the period. From paintings and coins to sculptures and tapestries, Welch examines the issues of materials, workshop practices, and artist-patron relationships, and explores the ways in which visual imagery related to contemporary sexual, social, and political behavior.
neutral textbook. This one takes a particular produced between 1350 and 1500, attempting to within its original religious, political, and social culture. It Italian art integrate it does not, therefore, try to provide a comprehensive survey or to illustrate the is best-known works from the period. to raise a series of questions about originally seen, and what messages how art was its Its purpose, instead, created, where it patrons hoped to convey information provided in
construction of geometrically convincing illusions of the natural world, have become the hallmarks of what ally considered this moment's particular period >f 1 is tradition- style'. the important, although not unique, role Tuscan artists had played in the dissemination of classical formulas and mathematical interests, traditional discussions focus on this geographic area. of Renaissance art have tended to The typical survey charts the early appearance of classicizing motifs in
Brunelleschi's overall supervision in the late 1430s. Il6 DEFINING RELATIONSHIPS: ARTISTS AND PATRONS 3 After the provision of a model in 1437, Donatello was awarded the commission for a set of bronze doors for the sacristy. The creation of such detailed drawings and models seems to have been very in cathedral projects: in 1442, for example, Luca della common Robbia gave the Andrea di model for a opera a design for a pulpit in the sacristy while the sculptor Lazzaro Cavalcanti
charismatic preachers such as Giovanni Dominici of Florence and St Bernardino of Siena, had the support of the Papacy and of Italy's 172 SITES OF DEVOTION artistocratic elite. But the San Marco, Florence T Reconstructed plan after William Hood, Fra Angelico at San Marco Friars' choir I I Conventuals were also well connected and proved unwilling their traditional rights and rituals. to give up Monastic houses were torn between (Yale University Press, 1993), 3, fig. 5. the two
The early fifteenth-century preacher Girolamo da Siena wrote booklet about religious behaviour and included a special section on how men, and above women, should behave all in church, warning that excessive piety was as inappropriate as impiety: You should enter the church, not like those tradesmen, neighbours, most devoutly men or relatives, women who and friends in perpetual silence, looking at neither friars, women, and you have nothing set yourself to prayer. to say .