The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style

The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style

David Young Kim

Language: English

Pages: 304

ISBN: 0300198671

Format: PDF / Kindle (mobi) / ePub

This important and innovative book examines artists’ mobility as a critical aspect of Italian Renaissance art. It is well known that many eminent artists such as Cimabue, Giotto, Donatello, Lotto, Michelangelo, Raphael, and Titian traveled. This book is the first to consider the sixteenth-century literary descriptions of their journeys in relation to the larger Renaissance discourse concerning mobility, geography, the act of creation, and selfhood.
David Young Kim carefully explores relevant themes in Giorgio Vasari’s monumental Lives of the Artists, in particular how style was understood to register an artist’s encounter with place. Through new readings of critical ideas, long-standing regional prejudices, and entire biographies, The Traveling Artist in the Italian Renaissance provides a groundbreaking case for the significance of mobility in the interpretation of art and the wider discipline of art history.

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maniera tedesca. See Gothic style Mannerism, 18, 208 Mansueti, Giovanni, 186; St. Mark Healing St. Anianas in Alexandria, 187 Mantegazza, Antonio and Cristoforo, Certosa di Pavia façade, 93 Mantegna, Andrea, 135, 230; Triumphs of Caesar, 174 Mantua, 12, 78, 211, 217, 218, 222; Titian and, 171, 173–74, 176; Zuccaro and, 219, 228, 230 Marche, 7, 12, 16, 24, 30, 181 Marco da Pino, 189 Margaritone d’Arezzo, 62, 67, 69, 76, 84 Margherita of Savoy, 228 Marguerite de Navarre, Les Prisons, 112

other men, gains very often a disposition and character of a fine temper, for, in seeing abroad diverse honourable customs, even though he might be perverse in nature, he learns to be tractable, amiable, and patient, with much greater ease than he would have done by remaining in his own country. And in truth, he who desires to refine men in the life of the world need seek no other fire and no better touchstone than this, seeing that those who are rough by nature are made gentle, and the gentle

draws figures, and extrapolates to perceive a hidden order or someone’s fortune, proceeding through the Roman cityscape involves the exercise of surveying and discerning the meaning of scattered fragments. Akin to the discourse surrounding the term astratto, this passage associates the material engagement with concrete vestiges with exploration that demands the mental exercise of foretelling. Significantly, Vasari comments that appreciating Brunelleschi’s own physical appearance necessitates an

little of that goodness and grace that he had once imparted to all of his figures.” Later art historians have borne out Vasari’s observations, though in more measured and generous terms. Despite their damaged state, several of the Galluzzo frescoes betray Pontormo’s use of motifs and compositional strategies from Dürer’s prints. The Christ before Pilate adapts from Dürer’s Passion cycle woodcut of Christ before Herod the tall, wiry, and hand-bound Christ, the witnesses’ outstretched hands and

Zacchia de Vezzano’s compilation of epistles supposedly written by the Ottoman sultan. The title page layout is so similar to the Dialogo that the two works—one on Renaissance art theory, the other on the Ottomans—could be mistaken for one another on first glance (fig. 6.6).20 Yet in the passage cited above, the speaker Aretino fashions once again a curtailed historical version of Venetian painting and Ottoman patronage. Passed over in silence is Gentile Bellini’s diplomatic mission in 1479–81

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