Relevant bibliographies by topics / Italian Renaissance Art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Italian Renaissance Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Italian Renaissance Art"

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HARTT, FREDERICK, and ROBERT ORME. "HISTORY OF ITALIAN RENAISSANCE ART." Art Book 1, no. 3 (June 1994): 17b. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00134.x.

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Chastel, Andre, and William Hood. "French Scholarship on Italian Renaissance Art." Art Bulletin 69, no. 4 (December 1987): 649. http://dx.doi.org/10.2307/3051005.

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Simons, Patricia. "THE INCUBUS AND ITALIAN RENAISSANCE ART." Source: Notes in the History of Art 34, no. 1 (September 2014): 1–8. http://dx.doi.org/10.1086/sou.34.1.23882368.

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Even, Yael, and Timothy Wilson. "Ceramic Art of the Italian Renaissance." Sixteenth Century Journal 19, no. 2 (1988): 283. http://dx.doi.org/10.2307/2540437.

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de Armas Wilson, Diana. "Quixotic Frescoes: Cervantes and Italian Renaissance Art." Comparative Literature Studies 45, no. 3 (January 1, 2008): 388–90. http://dx.doi.org/10.2307/complitstudies.45.3.0388.

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Goffen, Rona. "Signatures: Inscribing Identity in Italian Renaissance Art." Viator 32 (January 2001): 303–70. http://dx.doi.org/10.1484/j.viator.2.300740.

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CHESSICK, RICHARD D. "History of Italian Renaissance Art, 5th ed." American Journal of Psychiatry 162, no. 12 (December 2005): 2415–17. http://dx.doi.org/10.1176/appi.ajp.162.12.2415.

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Safford, L. B. "Dante in the Italian Renaissance of Art." Pedagogy Critical Approaches to Teaching Literature Language Composition and Culture 13, no. 1 (January 1, 2013): 97–104. http://dx.doi.org/10.1215/15314200-1814215.

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Welch, Evelyn. "Engendering Italian Renaissance art — a bibliographic review." Papers of the British School at Rome 68 (November 2000): 201–16. http://dx.doi.org/10.1017/s0068246200003925.

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L'IDENTITÀ SESSUALE NELL'ARTE RINASCIMENTALE ITALIANA — UNA RASSEGNA BIBLIOGRAFICAQuesto saggio fornisce una rassegna di precedenti approcci allo studio della figura femminile nell'arte rinascimentale italiana e dei recenti sviluppi negli studi femministi e sull' identità sessuale. Mentre gli storici hanno in anni recenti adottato nuovi metodi e domande di ricerca nell'esplorare in maniera produttiva il ruolo economico e sociale della donna, gli storici dell'arte rinascimentale si sono mostrati più reticenti verso queste innovazioni. Solo di recente sono venuti alla luce nuovi libri ed articoli che trattano della donna come pittrice, mecenate e come oggetto di rappresentazioni figurate. Tuttavia queste pubblicazioni vanno viste come episodi isolati in un campo che si mostra restio allo studio del ruolo della donna. In questo saggio l'attuale diversità di approcci allo studio dell storia dell'arte viene illustra to. L'importanza degli studi di identità sessuale come un concetto cruciale per gli studi rinascimentali viene proposta come un concetto fondamentale affinchè il campo mantenga la sua vitalità nel XXI secolo.
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Quiviger (book author), François, and Sally Hickson (review author). "The Sensory World of Italian Renaissance Art." Renaissance and Reformation 35, no. 2 (January 29, 2013): 171–72. http://dx.doi.org/10.33137/rr.v35i2.19385.

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Dissertations / Theses on the topic "Italian Renaissance Art"

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McCue, Maureen Clare. "British Romanticism and Italian Renaissance art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.

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This study examines British Romantic responses to Italian Renaissance art and argues that Italian art was a key force in shaping Romantic-period culture and aesthetic thought. Italian Renaissance art, which was at once familiar and unknown, provided an avenue through which Romantic writers could explore a wide range of issues. Napoleon’s looting of Italy made this art central to contemporary politics, but it also provided the British with their first real chance to own Italian Old Master art. The period’s interest in biography and genius led to the development of an aesthetic vocabulary that might be applied equally to literature and visual art. Chapter One discusses the place of Italian art in Post-Waterloo Britain and how the influx of Old Master art impacted on Britain’s exhibition and print culture. While Italian art was appropriated as a symbol of British national prestige, Catholic iconography could be difficult to reconcile with Protestant taste. Furthermore, Old Master art challenged both eighteenth-century aesthetic philosophy and the Royal Academy’s standing, while simultaneously creating opportunities for new viewers and new patrons to participate in the cultural discourse. Chapter Two builds on these ideas by exploring the idea of connoisseurship in the period. As art became increasingly democratized, a cacophony of voices competed to claim aesthetic authority. While the chapter examines a range of competing discourses, it culminates in a discussion of what I have termed the ‘Poetic Connoisseur’. Through a discussion of the work of Lord Byron, Percy Shelley and William Hazlitt, I argue that Romantic writers created an exclusive aristocracy of taste which demanded that the viewer be able to read the ‘poetry of painting’. Chapter Three focuses on the ways in which Romantic writers used art to produce literature rather than criticism. In this chapter, I argue that writers such as Byron, Shelley, Lady Morgan, Anna Jameson and Madame de Staël, created an imaginative vocabulary which lent itself equally to literature and visual art. Chapter Four uses Samuel Rogers’s Italy as a case study. It traces how the themes discussed in the previous chapters shaped the production of one of the nineteenth century’s most popular illustrated books, how British art began to appropriate Italian subjects and how deeply intertwined visual and literary culture were in the period. Finally, this discussion of Italy demonstrates how Romantic values were passed to a Victorian readership. Through an appreciation of how the Romantics understood Italian Renaissance art we can better understand their experience and understanding of Italy, British and European visual culture and the Imagination.
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Kline, Jonathan Dunlap. "Christian Mysteries in the Italian Renaissance: Typology and Syncretism in the Art of the Italian Renaissance." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/4976.

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Art History
Ph.D.;
My dissertation studies the typological juxtaposition and syncretic incorporation of classical and Christian elements-subjects, motifs, and forms-in the art of the Italian Renaissance and the significant meaning of classical subjects and figures in such contexts. In this study, I analyze the interpretative modes applied to extra-Biblical and secular literature in the Italian Tre- and Quattrocento and the syncretic philosophies of the later Quattro- and early Cinquecento and reevaluate selected works of art from the Italian Renaissance in light of the period claims and beliefs that are evident from such a study. In summary, my dissertation considers the use of classical subjects, motifs, and forms in the art of the Italian Renaissance as a means to gloss or reveal aspects of Christian doctrine. In chapter 1, I respond to the paradigm proposed by Erwin Panofsky (Renaissance and Renascences) and establish a new criteria for understanding the difference between medieval and Renaissance perceptions of classical antiquity. Chapter 2 includes a study of the mythological scenes painted in the Cappella Nova of Orvieto Cathedral, which are here shown to gloss and reveal aspects of the developing Christian doctrine of Purgatory. In chapter 3, I study the Renaissance use of representational ambiguity as a means of signifying the propriety of pursuing an allegorical interpretation of a work and specifically address the typological significance of figures in Botticelli's Primavera. In chapter 4, I examine the philosophical concepts of prisci theologii and theologicae poetae and their significance in relation to the representation of classical figures in medieval and Renaissance works of art. This study provides the necessary background for a reevaluation of syncretic themes in Raphael's Stanza della Segnatura, which is the subject of the final chapter. In chapter 5, I identify classical figures in the frescoes of the Stanza della Segnatura-among them, Orpheus in the Parnassus and Plato and Aristotle in the Disputa-and offer a new interpretation of the iconographic program of the Stanza della Segnatura frescoes as a representation of the means by which participants in the Christian tradition, broadly conceived, approach God through the parallel paths of dialectic and moral philosophy.
Temple University--Theses
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Tobey, Elizabeth MacKenzie. "The palio in Italian Renaissance art, thought, and culture." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2458.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Rogers, Mark Christopher. "Art and public festival in Renaissance Florence studies in relationships /." Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/Rogers.pdf.

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Macneil, Georgina Sybella. "Giovannino Battista: the boy Baptist in quattrocento Italian art." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10299.

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This thesis explores the imagery of the young John the Baptist in Renaissance art. The phenomenon of John’s juvenescence has been noted but insufficiently explored by previous scholarship. The present study reassesses the figure of the youthful Baptist by means of rigorous theological exegesis of biblical, apocryphal and late medieval textual sources and a thorough investigation of the visual corpus. Beginning with the mosaics of the Florentine Baptistery, a handful of narrative cycles locate the onset of John’s prophetic career in the desert at an ever-earlier point in his life. However, it was not until the mid-fifteenth century that the boy John was released from the confines of his own narrative to become an independent figure in devotional imagery. Innovative altarpieces by Filippo Lippi commissioned by the Medici family in the late 1450s and 60s are shown to be crucial in promoting and disseminating this new vision of Florence’s beloved patron saint. The thesis demonstrates the enormous popularity of the youthful Baptist in the following decades, first in Florence and subsequently elsewhere in Italy, and interrogates the significance of his presence as infant, boy and adolescent across a wide range of pictorial and sculptural representations. One of the most famous examples of the child John, Leonardo da Vinci’s “Virgin of the Rocks”, is recontextualised within this existing pictorial current, to show that this masterpiece is at once more traditional and more innovative in its treatment of subject matter than has hitherto been recognised. Key narrative moments, such as a meeting between Christ and John, and new ways of visualising the intimate bond between the two children formulated towards the end of the fifteenth century, including physical embraces and shared exposure of vulnerable infant flesh, are also investigated. Through such investigations, the thesis aims to advance understanding of the multiple and intersecting roles played by the boy Baptist in Renaissance art and devotion.
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Zaho, Margaret Ann. "Imago triumphalis : the function and significance of triumphal imagery for Italian Renaissance rulers /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6242.

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Ellison, Melinda Jane. "Images of venus in epithalamic art of the Italian Renaissance, 1460-1540." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ42234.pdf.

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Hayden, Margaret. "The Medici Example: How Power Creates Art and Art Creates Power." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3917.

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This project looks at two members of Florence’s Medici family, Cosimo il Vecchio (1389-1464) and Duke Cosimo I (1519-1574), in an attempt to assess how they used the patronage of art to facilitate their rule. By looking at their individual political representations through art, the specifics of their propagandist works and what form these pieces of art came, it is possible to analyze their respective rules. This analysis allows for a clearer understanding of how these two men, each in very different positions, found art as an ally for their political endeavors. While they were in power only one hundred years apart, they present uniquely different strategies for the purpose of creating and maintaining their power through the patronage of art.
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Norris, Rebecca M. "Carpaccio's Hunting on the lagoon, and Two Venetian ladies a vignette of fifteenth-century Venetian life /." [Kent, Ohio] : Kent State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1185214455.

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Thesis (M.A.)--Kent State University, 2007.
Title from PDF t.p. (viewed November 14, 2007). Advisor: Gustav Medicus. Keywords: Carpaccio; Vittore Carpaccio; Hunting on the Lagoon; Two Venetian Ladies; Social Studies, Venice; Renaissance, Venice; Material Culture, Venice; Gender Studies, Venice; Furniture, Venice; Domestic, Venice; Women's Fashion, Venice; Letter Rack; Venetian Soceity. Includes bibliographical references (p. 71-75).
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Rachele, Cara Paul. "Building Through the Paper: Disegno and the Architectural Copybook in the Italian Renaissance." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467183.

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The dissertation looks at architectural theory in early modern Italy through a history of its drawings. It examines a group of early-sixteenth-century drawing books, made in and around Rome, that comprised reproductive drawings based on circulating drawing exemplars from the late fifteenth century. The drawing books are identified as study tools made by artisans who aspired to the practice of architecture. The study illuminates the broader shift toward drawing as the primary means of architectural design. The first chapter contends that the distinctive drawing practices of architecture arose from the merging of the representational traditions of figural and mechanical drawing, identifying this progression in architectural texts by Cennino Cennini, Leon Battista Alberti, Filarete, Francesco di Giorgio Martini, Leonardo, and Raphael. The next chapter reconsiders the “treatise-books” of the 1510s-1530s as copybooks for architectural draftsmen, analogous to the commonplace books created by humanist scholars, using the Codex Coner (Soane’s Museum, London) as a case study. Chapter 3 looks at the widespread phenomenon of drawing and copying architectural details and tracks its development from detail drawing series made in the fifteenth century to the precisely measured images of the early sixteenth century. The case study is the Codex Fogg (Harvard Art Museums, Cambridge). Chapter 4 traces the empirical development of orthographic section drawing as an established component of the drawing palette of the architectural draftsman, taking the Codex Mellon (Pierpont Morgan Library, New York) as an example. Chapter 5 investigates the circumstances that influenced the end of the architectural copybook phenomenon in the late 1530s-40s. Two examples demonstrate the transition, the Codex Lille by Raffaello da Montelupo (Musée des Beaux-Arts, Lille) and the Codex Campori App. 1755 of Giovanni Antonio Dosio (Biblioteca Estense, Modena).
History of Art and Architecture
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Books on the topic "Italian Renaissance Art"

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Italian Renaissance art. Boulder, Colo: Westview Press, 2001.

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Plumb, J. H. The Italian Renaissance. Boston: Houghton Mifflin, 1987.

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1893-1973, Bishop Morris, ed. The Italian Renaissance. Boston: Houghton Mifflin, 2001.

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Plumb, J. H. The Italian Renaissance. New York: American Heritage, 1985.

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G, Mallet J. V., Liefkes Reino 1959-, and Victoria and Albert Museum, eds. Italian Renaissance maiolica. London: V&A Pub., 2012.

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Cooper, Tracy Elizabeth. Renaissance. New York: Abbeville Press, 1995.

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Cooper, Tracy Elizabeth. Renaissance. London: Booth-Clibborn, 1995.

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Italian Renaissance art: A sourcebook. Upper Saddle River, NJ: Pearson-Prentice Hall, 2008.

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G, Wilkins David, ed. History of Italian Renaissance art. 6th ed. Upper Saddle River, N.J: Prentice Hall, 2006.

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Artists of the Renaissance. Westport, CT: Greenwood Press, 2003.

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Book chapters on the topic "Italian Renaissance Art"

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Golahny, Amy. "Italian Art and the North." In A Companion to Renaissance and Baroque Art, 106–26. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch5.

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Atkinson, Niall. "The Italian Piazza." In A Companion to Renaissance and Baroque Art, 561–81. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch27.

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Richter, Elinor M. "Recasting the Role of the Italian Sculptor." In A Companion to Renaissance and Baroque Art, 210–28. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch10.

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O’Bryan, Robin. "Able-bodied and Disabled Dwarfs in Italian Renaissance Art and Culture1." In The Routledge Companion to Art and Disability, 168–87. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003009986-13.

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Terry-Fritsch, Allie. "Franciscan Art and Somaesthetic Devotion in the Italian Renaissance Holy Lands." In Aesthetic Theology in the Franciscan Tradition, 252–74. New York : Routledge, 2020. | Series: Routledge research in art and religion: Routledge, 2019. http://dx.doi.org/10.4324/9780429318658-12.

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"Chapter 5. Renaissance Form: Italian Art." In Sexual Personae, 140–69. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300182132-008.

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"Italian Renaissance Art of the Early Fifteenth Century." In Perspectives on Western Art, edited by Linnea H. Wren, 1–41. Routledge, 2018. http://dx.doi.org/10.4324/9780429498374-1.

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"Renaissance." In Advances in Religious and Cultural Studies, 303–59. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1706-2.ch011.

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The influence of the Greco-Roman art and the art of the Middle Ages on depicting space in the pictorial art of the Italian Renaissance is considered. It is shown that the linear perspective, opened by the masters of the Italian Renaissance, not only reproduces the image of a homogeneous and continuous space, but also due to the presence in the picture of a single vanishing point of straight lines perpendicular to the picture plane, creates a feeling of unlimited space. Methods of the depicting space by the Northern Renaissance masters are reconstructed; the differences from the linear perspective are shown and the advantages of using a curved perspective are analyzed. In analyzing the markers of evolutionary changes, the most active channels were obtained. The results are shown in the form of generalized psychological portraits. The behavior patterns of the main estates representatives were reconstructed.
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Perini, Giovanna. "Emilian Seicento art literature and the transition from fifteenth- to sixteenth-century art." In Drawing Relationships in Northern Italian Renaissance Art, 35–50. Routledge, 2017. http://dx.doi.org/10.4324/9781315094816-3.

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Howard, Rebecca M. "Whitewashing the Whitewashed Renaissance: Italian Renaissance Art through a Kapharian Lens." In Teaching Race in the European Renaissance: A Classroom Guide. ACMRS Press, 2023. http://dx.doi.org/10.54027/pxjz4852.

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Conference papers on the topic "Italian Renaissance Art"

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Herczeg, Agnes. "THE RELATIONSHIP BETWEEN HUNGARIAN AND ITALIAN EARLY RENAISSANCE GARDENS." In 8th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscah.f2021/s06.08.

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Para, Iulia, and Daniela Stanciu. "TO BE, TO HAVE OR TO HOLD THE POWER IN THE RENAISSANCE ITALIAN CITY-STATES?" In 7th SWS International Scientific Conference on ART and HUMANITIES - ISCAH 2020 Proceedings. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscah.2020.7.1/s21.06.

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Solyom, Barbara. "RE-NAISSANCE OF RENAISSANCE. FIRST STEPS TOWARD A COMPARATIVE STUDY OF REAPPEARING FORMS OF ITALIAN RENAISSANCE GARDEN DESIGN AT THE TURN OF THE 19TH AND 20TH CENTURIES IN HUNGARY AND ITALY." In 8th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscah.f2021/s06.07.

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Fischnaller, Franz, Yesi Maharaj Singh, and Martin Reed. "The Last Supper Interactive: Stereoscopic and ultra-high resolution 4K/3D HD for immersive real-time virtual narrative in Italian Renaissance Art." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6744830.

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Ozola, Silvija. "FORMATION OF CITIES IN THE COURLAND AND SEMIGALLIA DUCHY DURING THE 16TH � 17TH CENTURY UNDER THE INFLUENCE OF ITALIAN AND POLISH RENAISSANCE URBAN PLANNING TRADITIONS." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/2.3/s20.016.

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Herzen, A. "DNIESTER FORTIFICATIONS ON THE OLD MAPS." In Man and Nature: Priorities of Modern Research in the Area of Interaction of Nature and Society. LCC MAKS Press, 2021. http://dx.doi.org/10.29003/m2605.s-n_history_2021_44/198-207.

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Old maps of the North-Western Black Sea region of the era of antiquity (reconstructions and reproductions of works of ancient Greek and Roman authors), the Middle Ages (Arabic, Italian, etc.), the Renaissance period (A. Bianco, F. Mauro, B. Wapowski, M. Beneventano, N. de Cusa, S. Münster, I. Honter, I. Stumpf, G. Reichersdorff, M. Bronovius and others) and modern times (G. Gastaldi, A. Ortelius, V. Godreccio, A. Pograbius, G. L. Boplan , V. Hondius, J.A.B. Rizzi-Zannoni, F.V. Bawr and others) contain information about numerous fortifications on the banks of the Dniester, in the immediate vicinity of the river and within the basin. The analyzed cartographic works are key for identifying fortifications in the study area, determining the stages of the historic-geographical evolution of the region and the development of cartography in general.
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De Fátima Faria Costa, Maria, Ermanno Aparo, and Liliana Soares. "Worth by Northwest: A Design Strategy for Territorial Sustainability." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001424.

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The paper aims to prove that a local design-oriented network strategy can be crucial in achieving territorial sustainability.The analysis of a place can be understood as an occasion to define a multicellular system so that, each one of the monocellular organisms - the companies - cooperate together and define the evolution of the system. As happens in a multicellular biological organism, in a network of companies, several cells - with different types and degrees of specialization - can create an interdependence that increases the possibility of survival.The case of Italian productive districts establishes the contribution of design to the competitiveness of companies, involving them in the organization of territorial interfaces capable of producing innovation (Bettiol, Chiaversio, Micelli, 2009). The development of a territorial business system can be an opportunity to stimulate local development, representing an opportunity to favor and encourage investments. Likewise, this is an chance to develop ways to share resources, processes, knowledge and innovation. Since the Renaissance, the Italian productive system has been articulated in networks (Aparo, 2020), sharing excellence and approaching complex projects that are solved, almost always producing innovation. The concept of network system expressed by design has been supported by authors such as Ampelio Bucci (2003), Antonio Ricciardi (2004) or Venanzio Arquilla, Giuliano Simonelli, Arianna Vignati (2005). It is an action established in several areas of the product and/or service and a decisive network system for the success of Italian Design in the world.The work developed by Design in the development of a system of territorial networks becomes essential by taking on several tasks. Maria Antonieta Sbordone (2016) analyzes them as a social function, a heterogeneous function, a business function and, finally, a connective function.The North of Portugal is mainly characterized by a panorama of small and medium-sized companies which - according to data provided by the National Institute of Statistics - in the last study carried out in 2008 on the structures of Portuguese companies, reveals that 113,747 companies were located in the North, influencing by 69.5% in the turnover of the North Region.The authors intend to demonstrate that in the North of Portugal, a business network strategy of a local character guided by Design, can be seen as a significant opportunity to define the evolution of the local economy. An action that motivates the creation of business systems to determine mutual collaboration and the development of innovation projects. Taking the Italian system as an example, the aim is to implement a business network system that, starting from localized excellence, can enhance the productive capacity of each company, improve the offer, make processes profitable and, finally, determine survival or even success. Therefore, the results of project developed in an academic context within the scope of Research and Development explain how a project built with networks can stimulate innovation and activate collaboration processes, reaching levels of excellence, making resources profitable and exalting the peculiarities of each productive organism in order to create sustainability.
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