Painting in Renaissance Florence 1500-1550
Author(s)
Bibliographic Information
Painting in Renaissance Florence 1500-1550
Yale University Press, 2001
- : cloth
- Other Title
-
Painting in Renaissance Florence
Available at 15 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p. 250-251) and index
Description and Table of Contents
Description
This outstanding book overturns longstanding assumptions about the way art evolved in Renaissance Florence. David Franklin challenges the reliability and usefulness of the terms 'High Renaissance' and 'Mannerism', which have been used commonly to describe and define the extraordinary paintings of the Florentine Renaissance. Franklin offers instead a new perspective on the progress and development of art in Florence, structuring his discussion around the lives and works of twelve influential Italian painters of the era. The book provides a detailed account of the critical period from about 1500, when Leonardo returned to Florence, to the publication in 1550 of Vasari's first edition of the Lives of the Artists. With penetrating analyses of careers, influences and specific paintings, Franklin isolates two main strands in Renaissance Florentine painting. He brings to light the passionate rivalry between a deeply localised attitude toward art exemplified by Michelangelo and Leonardo and climaxing in the work of Pontormo, and a style influenced by the Roman art of Raphael that Vasari tried with some success to import into Florence.
For the former group, life drawing and expressive human form were at the heart of their enterprise, while for the latter it was superficial narrative arranged for decorative effect. Franklin's unprecedented examination of Vasari's work as a painter in relation to his vastly better known writings fully illuminates these dual strands in Florentine art and offers us a clearer understanding of sixteenth-century painting in Florence than ever before. The volume focuses on twelve painters: Perugino, Leonardo da Vinci, Piero di Cosimo, Michelangelo, Fra Bartolomeo, Ridolfo Ghirlandaio, Andrea del Sarto, Franciabigio, Rosso Fiorentino, Jacopo da Pontormo, Francesco Salviati and Giorgio Vasari.
by "Nielsen BookData"