Italian Renaissance Art: Volumes One and Two

Cover (Italian Renaissance Art Second Edition)
Front Matter
	Title Page
	Copyright
	Contents
	Preface to the First Edition
	Preface to the Second Edition
Introduction
	Looking Back, Looking Forward
	New Technologies and Theories of Art
	Word and Image
	The Book and Its Structure
1 1300–1400 The Trecento Inheritance
	Political Geography and the Arts
		Architecture and Place
	The Pisano Family:
The New Architectural Sculpture
	Giotto: The Painter and the Legend
		Mural Painting: The “Upper Church” at Assisi
		Private Patronage: The Arena Chapel
		The Bardi Chapel
	Devotional Imagery: Siena
		Duccio’s Maestà
		Sienese Art after Duccio
	Art and the State
		The Image of the Sovereign: Bologna and Naples
		Signoria and Comune: Verona and Siena
	Art and Devotion after Giotto
		Cult Images and Devotional Life
		Painting after the Black Death
		Giotto’s Legacy
2 1400–1410
The Cathedral and the City
	Campanilism
	The Cathedrals of Florence and Milan
	Competition at Florence Cathedral
		Lorenzo Ghiberti, Filippo Brunelleschi, and the Commission for the Baptistery Doors
		Ghiberti’s First Doors
	Marble Sculpture for the Cathedral:
Nanni di Banco and Donatello
	Jacopo della Quercia and the Fonte Gaia
3 1410–1420 Commissioning Art: Standardization, Customization, Emulation
	Orsanmichele and Its Tabernacles
		Nanni di Banco’s St. Philip
		Donatello’s St. Mark
		Figure and Niche
	Customizing the Altarpiece:
The Coronation of the Virgin
	Filippo Brunelleschi and the
Foundling Hospital
4 1420–1430
Perspective and Its Discontents
	The Centrality of Florence
	Lorenzo Ghiberti and Brunelleschi at the
Baptistery
		New Technologies
		Linear Perspective, Regular Space
	Perspective and Narrative
		Donatello and Ghiberti
		Masaccio, Masolino, and the Brancacci Chapel
		Masaccio’s Trinity
	The Brunelleschian Model and Its
Alternatives
5 1430–1440
Practice and Theory
	Painting Panels and Frescoes
	The Centrality of Disegno
		Cennino Cennini
		Pisanello and the Humanists
		Leon Battista Alberti: A Humanist Theory of Painting
		Paolo Uccello
	Inventing Antiquity
		An Emperor in Italy
		The cantorie of Donatello and Luca della Robbia
	Jacopo Bellini and the Transformation of
the Modelbook
6 1440–1450
Palace and Church
	The Sacred and the Profane
		Donatello’s Doors for San Lorenzo
	San Marco
		Fra Angelico and the Invention of the Unified Altarpiece
		Fra Angelico’s Frescoes
	The Florentine Altarpiece after 1440
		Fra Filippo Lippi
		Domenico Veneziano
	Andrea del Castagno and the Convent of
Sant’Apollonia
	The all’antica Tomb
	The Private Palace
		Ambitious Building in Florence and Venice
		Luxury and Humility: Donatello’s Statues for the Medici Palace
		Inside the Florentine Palace
	Civic Patronage and the Church:
Venice and Padua
		Donatello in Padua
	Siena: Civic and Sacred Space
	Palermo: from Palace to Hospital
	The Vatican Papacy and the Embellishment
of St. Peter’s
7 1450–1460
Rome and Other Romes
	The Model City
		Architecture and Urbanism under Nicholas V
		Fra Angelico at the Vatican
	The Courts of Naples and Rimini
		Alfonso Looks North
		The “Tempio” of Rimini
		Agostino di Duccio and the Sculptural Decoration of the Tempio
	Padua
		Andrea Mantegna’s Beginnings
		Donatello’s Gattamelata
	Pius II: Rome and Pienza
	Alberti on Architecture
8 1460–1470
Courtly Values
	What Is Court Art?
	Ferrara and the Court of Borso d’Este
		Astrological Imagery in the Palazzo Schifanoia
		Borso’s Bible
	The Sforza Court in Milan
		Filarete
		The Portinari Chapel
		Courtly Imitation
	Mantegna, Alberti, and the Gonzaga Court
		Mantegna’s Camera Picta
		Alberti in Mantua
	Urbino: The Palace of Federico da
Montefeltro
	Courtly Values in Cities without Courts
		Florence: Chapel Decorations in the Medici Palace
		Arezzo: Piero della Francesca’s Story of the True Cross
9 1470–1480
What Is Naturalism?
	The Flemish Manner
		The Medici and Bruges
		The Court of Urbino
		Italian Responses: Piero della Francesca
	Oil Painting
		Antonello da Messina and Giovanni Bellini: Light as Actor
	Life Study
	Leonardo da Vinci’s Beginnings
	Nature and the Classical Past
	Beauties beyond Nature
10 1480–1490
Migration and Mobility
	Portable Art
		Canvas and Bronze: Mantegna, Bertoldo, Pollaiuolo
		Engravings and Drawings
	Artists on the Move
		Italy and the Ottomans
	Florentine Bronze Sculptors in Venice
and Rome
		Verocchio, Leonardo, and the Equestrian Monument
		Pollaiuolo and the Papal Tomb
	Florentine Painters in Rome: The Sistine
Chapel Frescoes
	Leonardo Goes to Milan
11 1490–1500
The Allure of the Secular
	From the Margins to the Center
	The Studiolo of Isabella d’Este and
Mythological Painting
	Corporate Devotion
		Ghirlandaio’s Tornabuoni Chapel
		Bellini’s Paintings for the Scuola di San Giovanni Evangelista
	The World Ends
		Savonarolan Florence
		Filippino Lippi between Rome and Florence
	Judgment Day in Orvieto, “Last Things”
in Bologna
	Leonardo in Sforza Milan
		Leonardo and Sacred Painting
	Michelangelo: Early Works in Marble
		Florence
		Rome
12 1500–1510
Human Nature
	The Heroic Body and Its Alternatives
		Michelangelo’s David
	Leonardo and Michelangelo in Florence
		Depicting the Holy Family
		Leonardo vs. Michelangelo: Battle Paintings for the Great Council Hall
		Motions of the Body and Motions of the Mind: Leda and Mona Lisa
	Raphael’s Beginnings
		Activating the Altarpiece: The Perugia Entombment of Christ
	Rome: A New Architectural Language
		The New St. Peter’s
	The Sistine Ceiling
	The Vatican Palace
		Eloquent Bodies: Raphael and the Stanza della Segnatura
	Venice
		Foreigners in the City
		Giorgione and the Young Titian
13 1510–1520
The Workshop and the “School”
	Raphael and His Team 1512–20
		The Villa Chigi
		Later Frescoes in the Vatican Stanze
		Printmaking and Tapestries
		Sculpture and Architecture
		Altarpieces
		Raphael, Sebastiano del Piombo, and Michelangelo
		Raphael and the Portrait
	Michelangelo’s Sculptures for the
Julius Tomb
	The Florentine “Schools”
		The School of San Marco: Fra Bartolomeo and Mariotto Albertinelli
		The School of the Annunziata: Andrea del Sarto, Jacopo Pontormo, and Rosso Fiorentino
	Titian and the Camerino of Alfonso d’Este
		Titian’s Bacchanals
14 1520–1530
The Loss of the Center
	The Sala di Costantino
	Rome after Raphael: Making a Reputation
		Giulio Romano
		Parmigianino
		Rosso Fiorentino
		The Allure of Printmaking
	Florence
		Michelangelo’s Return to Sculpture
		Pontormo
	Lombardy and Venice
		Correggio in Parma Cathedral
		Correggio and Lorenzo Lotto: Altarpieces
		Lorenzo Lotto as a Portraitist
		Titian: Two Altarpieces
		Pordenone in Cremona Cathedral
	The Sack of Rome in 1527
15 1530–1540
Dynasty and Myth
	The Della Rovere in Urbino
	The Gonzaga in Mantua
		Palazzo del Tè
		Correggio’s Mythologies
	The Medici in Florence
		Michelangelo’s New Sacristy
		The Image of the Autocrat
	Andrea Doria in Genoa
	Rome under the Farnese
		Urbanism under Paul III
		Michelangelo’s Last Judgment
16 1540–1550 Literate Art
	The Painting of History
		Facility and Grace: Salviati and Bronzino at the Medici Court
		The Monumental Fresco in Rome: Perino del Vaga
	Michelangelo’s Gift Drawings and the Pietà
	The Rise of Vernacular Art Theory
	Italians Abroad: Fontainebleau
	The City Square
		The Shaping of Venetian Public Space
		Urbanism in Genoa
		Rome: The Capitoline Hill
	Painting without Poetry
		Titian between Pope and Emperor
		Bronzino’s State Portraits
		Michelangelo: The Pauline Chapel
17 1550–1560
Disegno/Colore
	Titian and Rome
		Titian and the Hapsburgs
		Tintoretto’s Challenge to Titian
	Design and Production: Florence and Rome
		Tapestry and Goldsmithery
		Architecture of the Vasari Circle
	Interpreting Michelangelo
		Daniele da Volterra
		Pellegrino Tibaldi
	Out of Italy
		Sofonisba Anguissola
		The Leoni
		Giorgio Ghisi and Cornelis Cort
18 1560–1570
Decorum, Order, and Reform
	Alessandro Moretto and Giovanni Moroni:
Reform Tendencies on the Eve of Trent
	Michelangelo’s Last Judgment,
Twenty Years Later
	The Jesuits and the Reform of
Church Architecture
	Princes of the Church and Their Villas
		Villa Farnese
		The Casino of Pius IV
		Villa Lante
	Villas in the Veneto: Andrea Palladio
	The “Sacro Bosco” at Bomarzo
	Bologna, Florence, and Rome in the Time of
Pius IV and Pius V
		Educational Reform in Florence: The Accademia del Disegno
		The Florentine Church Interior
	The Arts in Transition
19 1570–1580
Art, the People, and the
Counter-Reformation Church
	Two Reforming Archbishops
		Bologna: Gabriele Paleotti
		Milan: Carlo Borromeo
	Venice in the 1570s
		Veronese on Trial
		Palladio’s Redentore
	Three Confraternities
		Venice: The Scuola Grande di San Rocco
		Arezzo: The Confraternity of the Misericordia
		Rome: The Oratory of the Gonfalone
	Architecture and Urbanism in
Counter-Reformation Rome
		New St. Peter’s
		Streets, Squares, and Fountains
	The Image of the People
		The Rise of Genre Painting
		The Universe of Labor in the Studiolo of Francesco I
20 1580–1590
A Sense of Place
	Gardens and Grottos
	The Bolognese New Wave
		The Carracci Canon
		Art from Life in the Carracci Academy
		Altarpieces and the Question of Portraiture
		Lavinia Fontana
	The “Holy Mountain” at Varallo
	Mapping Rome
		The Vatican Hall of Maps
	Urbanism in Rome under Sixtus V
		Center and Periphery
		Obelisks and Columns
	The Place of Giambologna’s Abduction of the Sabine
21 1590–1600
The Persistence of Art
	Church Humanism, Church Archaeology
	A New Geography
		Regional Distinctions: Florence and Bologna
		Nepotism and Networks in Rome
	Galleries and Collectable Art
	Three Paths, c. 1600
		The Carracci at the Palazzo Farnese
		Federico Zuccaro: Making Disegno Sacred
		The Provocations of Caravaggio
		Caravaggio and the Church
	After 1600
Italian Renaissance Materials
and Techniques
Chronology of Rule 1400–1600:
Key Centers
Glossary
Bibliographical Notes and
Suggestions for Further Reading
Sources of Quotations
Picture Credits
Index