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Journal articles on the topic 'Italian Renaissance Art'

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Published: 4 June 2021
Last updated: 4 March 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Rabb, Theodore K. "How Italian Was the Renaissance?" Journal of Interdisciplinary History 33, no. 4 (April 2003): 569–75. http://dx.doi.org/10.1162/00221950360536521.

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The traditional account of the Renaissance holds that intellectual and artistic influence moved overwhelmingly in one direction—from Italy to the rest of Europe, and especially toward the North. A remarkable exhibition in Bruges, however, has made the case that traffic did not go just one way, at least so far as innovation in painting was concerned, because the vibrant cultural center of the Low Countries had a powerful and significant impact on southern Europe. That this case is made through art is an indication of how important it is to bring different disciplines to bear on our understanding of the past.
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12

Mandel, Corinne, and Paola Tinagli. "Women in Italian Renaissance Art: Gender, Representation, Identity." Sixteenth Century Journal 29, no. 2 (1998): 594. http://dx.doi.org/10.2307/2544574.

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13

Gorse, George L., and Patricia Emison. "Low and High Style in Italian Renaissance Art." Sixteenth Century Journal 30, no. 1 (1999): 213. http://dx.doi.org/10.2307/2544947.

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14

Zirpolo, Lilian H., and Paola Tinagli. "Women in Italian Renaissance Art: Gender, Representation, Identity." Woman's Art Journal 20, no. 1 (1999): 46. http://dx.doi.org/10.2307/1358845.

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15

Hood, William. "The State of Research in Italian Renaissance Art." Art Bulletin 69, no. 2 (June 1987): 174. http://dx.doi.org/10.2307/3051016.

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16

Williams, Robert, and Patricia Emison. "Low and High Style in Italian Renaissance Art." Art Bulletin 82, no. 2 (June 2000): 356. http://dx.doi.org/10.2307/3051383.

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17

Junkerman, Anne Christine, and Charles H. Carman. "Images of Humanist Ideals in Italian Renaissance Art." Sixteenth Century Journal 33, no. 1 (2002): 280. http://dx.doi.org/10.2307/4144302.

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18

Hood, William. "The State of Research in Italian Renaissance Art." Art Bulletin 69, no. 2 (June 1987): 174–86. http://dx.doi.org/10.1080/00043079.1987.10788418.

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19

Barolsky, Paul. "The history of Italian Renaissance art re-envisioned." Word & Image 12, no. 3 (July 1996): 243–50. http://dx.doi.org/10.1080/02666286.1996.10434252.

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20

Zucker, Mark J. "ART, SEX, AND HUMOR IN ITALIAN RENAISSANCE LITERATURE." Source: Notes in the History of Art 29, no. 4 (July 2010): 29–34. http://dx.doi.org/10.1086/sou.29.4.23208976.

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21

Austin, David. "ART THEORISTS OF THE ITALIAN RENAISSANCE. 2 vol." Art Documentation: Journal of the Art Libraries Society of North America 18, no. 2 (October 1999): 49–50. http://dx.doi.org/10.1086/adx.18.2.27949032.

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22

Bedarida, R. "Operation Renaissance: Italian Art at MoMA, 1940-1949." Oxford Art Journal 35, no. 2 (June 1, 2012): 147–69. http://dx.doi.org/10.1093/oxartj/kcs021.

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23

Albury, W. R., and G. M. Weisz. "St Joseph's Foot Deformity in Italian Renaissance Art." Parergon 28, no. 1 (2011): 91–111. http://dx.doi.org/10.1353/pgn.2011.0005.

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24

Derks, Sebastiaan. "Frontier interactions. René de Challant and transregional lordship." Virtus | Journal of Nobility Studies 27 (December 31, 2020): 155–58. http://dx.doi.org/10.21827/virtus.27.155-158.

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Review of Matthew Vester, Transregional lordship and the Italian Renaissance. René de Challant, 1504-1565, Renaissance History, Art and Culture 5 (Amsterdam: Amsterdam University Press, 2020, 329 p., ill., index).
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25

Hage, Ingebjørg. "Renessansehagen – utforming og hagekunstneriske motiver." Nordlit 15, no. 1 (June 1, 2011): 1. http://dx.doi.org/10.7557/13.1803.

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The focus of this article is the gardens of the Italian Renaissance, their main motifs of garden art and how these motifs spread through Europe during the centuries. Motifs from the garden art of Firenze and Rome in the fifteenth and the sixteenth centuries were established in France, England and the German speaking countries during the sixteenth and seventeenth centuries, and in Norway during the seventeenth. These gardens started among the Italian aristocracy, but as the gardens and garden motifs went north they were also adopted by the less well to do classes. Still during the twentieth century small parterre gardens with the same lay-out as in the Italian Renaissance could be found in small scale farm gardens in marginal parts of Europe - for example in Norway, Germany and Switzerland. Single garden motifs survived during the centuries, and they were performed in local materials, but the garden concept from the Italian Renaissance had disappeared.
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26

Ульянова, Наталия, and Nataliya Ulyanova. "The Art of the Renaissance Era As an Interlink of the World Culture." Scientific Research and Development. Socio-Humanitarian Research and Technology 6, no. 4 (December 18, 2017): 68–70. http://dx.doi.org/10.12737/article_5a2e741f3393d8.02235297.

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The article is devoted to the analysis of the features of Italian artistic culture, the Renaissance period, on the example of the work of the outstanding artist Michelangelo Buonarroti. Particular attention is paid to the significance and influence of the Italian culture of the Renaissance period on the world artistic culture. An analysis is made of the patterns of the further development of cultural relations based on the principles of the aesthetics of humanism.
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27

Olga G., Makho. "An Object in the Italian Renaissance Art. Artifact and Art-Object." Actual Problems of Theory and History of Art 7 (2017): 490–96. http://dx.doi.org/10.18688/aa177-5-49.

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28

Joost-Gaugier, Christiane L., and Max Seide. "Italian Art of the Middle Ages and the Renaissance." Sixteenth Century Journal 38, no. 2 (July 1, 2007): 550. http://dx.doi.org/10.2307/20478433.

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29

Liers, Frederick. "Archaizing Tendencies: Ornato and Rilievo in Italian Renaissance Art." Comitatus: A Journal of Medieval and Renaissance Studies 33, no. 1 (2002): 141–47. http://dx.doi.org/10.1353/cjm.2002.0037.

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30

bullard, melissa meriam. "The patron's payoff: conspicuous commissions in Italian renaissance art." Economic History Review 62, no. 3 (August 2009): 756–58. http://dx.doi.org/10.1111/j.1468-0289.2009.00493_17.x.

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31

Schroeder, Jonathan E., and Janet L. Borgerson. "Innovations in Information Technology: Insights from Italian Renaissance Art." Consumption Markets & Culture 5, no. 2 (June 2002): 153–69. http://dx.doi.org/10.1080/1025386029001559.

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32

RUBIN, PATRICIA. "SIGNPOSTS OF INVENTION: ARTISTS' SIGNATURES IN ITALIAN RENAISSANCE ART." Art History 29, no. 4 (September 2006): 563–99. http://dx.doi.org/10.1111/j.1467-8365.2006.00515.x.

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33

Nelson (book author), Jonathan K., Richard J. Zeckhauser (book author), and Sally Hickson (review author). "The Patron’s Payoff: Conspicuous Commissions in Italian Renaissance Art." Renaissance and Reformation 33, no. 4 (December 12, 2011): 136–38. http://dx.doi.org/10.33137/rr.v33i4.15982.

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34

Quinlan-McGrath (book author), Mary, and C. Cody Barteet (review author). "Influences: Art, Optics, and Astrology in the Italian Renaissance." Renaissance and Reformation 36, no. 3 (December 2, 2013): 195–97. http://dx.doi.org/10.33137/rr.v36i3.20567.

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35

Sterpetti, Antonio V., Giorgio De Toma, and Alessandro De Cesare. "Thyroid swellings in the art of the Italian Renaissance." American Journal of Surgery 210, no. 3 (September 2015): 591–96. http://dx.doi.org/10.1016/j.amjsurg.2015.01.027.

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36

Malkiel, David. "Renaissance in the Graveyard: The Hebrew Tombstones of Padua and Ashkenazic Acculturation in Sixteenth-Century Italy." AJS Review 37, no. 2 (November 2013): 333–70. http://dx.doi.org/10.1017/s0364009413000299.

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The acculturation Ashkenazic Jews in Italy is the focus of the present discussion. By 1500 Jews had been living in Padua for centuries, but their cemeteries were destroyed in the 1509. Four cemeteries remained with over 1200 inscriptions between 1530–1860. The literary features of the inscriptions indicate a shift from a preference for epitaphs written in prose, like those of medieval Germany, to epitaphs in the form of Italian Jewry's occasional poetry. The art and architecture of the tombstones are part and parcel of the Renaissance ambient, with the portals and heraldry characteristic of Palladian edifices. The lettering, too, presents a shift from the constituency's medieval Ashkenazic origins to its Italian setting. These developments are situated in the broader context of Italian Jewish art and architecture, while the literary innovations are shown to reflect the revival of the epigram among poets of the Italian Renaissance.
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37

Shemek, Deanna. "Circular Definitions: Configuring Gender in Italian Renaissance Festival*." Renaissance Quarterly 48, no. 1 (1995): 1–40. http://dx.doi.org/10.2307/2863319.

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The enigma is chat my body simultaneously sees and is seen. That which looks at all things can also look at itself and recognize, in what it sees, the “other side” of its power of looking.Maurice Merleau-PontyIn a Memorable Passage on the philosophy of art, phenomenologist Maurice Merleau-Ponty observes that the human subject's power to act and to perceive as a separate being arises from a body at once discrete unto itself, yet continuous with the world around it. “This initial paradox cannot but produce others,” he continues. “Visible and mobile, my body is a thing among things; it is caught in the fabric of the world, and its cohesion is that of a thing. But because it moves itself and sees, it holds things in a circle around itself“.
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38

Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (September 2015): 5–20. http://dx.doi.org/10.7227/bjrl.91.2.1.

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This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.
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39

Rocke, Michael. "The Biblioteca Berenson at Villa I Tatti." Art Libraries Journal 33, no. 1 (2008): 5–9. http://dx.doi.org/10.1017/s0307472200015157.

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Although it began as the personal library of one of the most influential art historians and connoisseurs of the last century, the Biblioteca Berenson now has a broad interdisciplinary scope that goes far beyond art and art history. As the library of Harvard University’s Center for Italian Renaissance Studies since the 1960s, it has become a major resource for research into all aspects of the society, culture and thought of Italy between about 1200 and 1650. Nonetheless the Berenson Library offers rich and often unique resources for art historical research, both on the Renaissance and on the 20th century.
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40

Allaire, Gloria. "Teaching the Italian Renaissance Romance Epic ed. by Jo Ann Cavallo." Arthuriana 29, no. 3 (2019): 106–9. http://dx.doi.org/10.1353/art.2019.0033.

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41

Pichugina, Olga K. "DEVELOPMENT OF IMITATION METHODS IN THE PAINTING PRACTICE OF THE 16th-17th CENTURY ITALIAN MASTERS." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 18. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-18.

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The article explores the imitation methods in Italian Renaissance and Baroque painting, which were widespread in the forms of copying, replication, compilation and imitation. Italian art inherited the practice of imitation from the era of Antiquity and the Middle Ages. It was the basis of apprenticeship and organization of work in art studios. Model imitation and, at the same time, search for stylistic originality from the second half of the 15th century led to the spreading of replication, compilation, imitation and emulation techniques. The practice of imitation was continued by the 17th century Italian masters in the form of self-copying. Thus, the processes of imitation in the form of copying, replication, and compilation during the Renaissance and Baroque were a major component of everyday artistic practice and produced a significant impact on its theoretical comprehension and continuation at the subsequent stages of development.
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42

Masi, Leonardo. "Le influenze italiane in Karol Szymanowski." Poznańskie Studia Polonistyczne. Seria Literacka, no. 39 (December 15, 2020): 101–11. http://dx.doi.org/10.14746/pspsl.2020.39.6.

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Like many other artists, Szymanowski was hugely attracted to Italy. In this article, I will briefly expose, firstly, the “Italian” tracks that can be found in the Polish composer’s music, and, secondly, the declarations on Italy in Szymanowski’s writings, in particular on his art and music, trying to relate these elements between them to see what image of Italian culture emerges. I will show how Szymanowski’s cultural environment remains German-based nevertheless looking for the lost unity between man, art and nature in the heritage of the Italian Renaissance.
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43

Hansen, Maria Fabricius. "Motivstudier. Kontinuitet og fornyelse i ornamentale hybridformer fra antikken til ca. 1600." K&K - Kultur og Klasse 45, no. 123 (August 28, 2017): 109–34. http://dx.doi.org/10.7146/kok.v45i123.96832.

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Representations of hybrids of human figures, plants, and animals were prolific in all media in sixteenth-century Italian art. The motif is known back from Greek and Roman antiquity, both in poetry and visual art, which the artists of the sixteenth century – or the renaissance – claimed to revive. Yet the representations of hybrids from these two periods within the history of art differ remarkably. And at the same time they belong to an iconographic tradition that did not disappear in the medieval period, an observation which blurs the picture of these ornaments as rediscovered and revived in the renaissance. How then do motifs such as foliate heads or other phyto- or zoomorph creatures develop in visual art from antiquity to ca. 1600? The topological method can be applied to a tracking of these motifs over time in order to stress continuity and analyze the transformations which took place through the centuries. This article reflects on some methodological and historiographical aspects of studies of motifs in art history. In a double-sided strategy it both aims at challenging the persistent notion of the renaissance as a period rejecting the middle ages and reviving antiquity (i.e. it stresses the continuity of the sixteenth century with the preceding centuries); and it suggest some characteristics of the visual paradigm of sixteenth-century Italian art (i.e. it describes some of the innovations of the period).
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44

Limanskaya, Lyudmila Yu. "ПРАКТИКИ ВОСПРИЯТИЯ И ОПИСАНИЯ АНТИЧНОСТИ ИТАЛЬЯНСКИМИ ГУМАНИСТАМИ В XIV - НАЧАЛЕ XVI В." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2022): 10–20. http://dx.doi.org/10.28995/2686-7249-2022-7-10-20.

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In the Renaissance, in connection with the increased public interest in ancient culture, the activities of Italian scientists-antiquarians intensified. Interest in antiquity was shared by philologists, artists and architects. This was clearly manifested in the study of the history of languages, the history of literature, the history of art and architecture. Associations of scientists – humanists were created around archaeological work. The difficulties in the formation of artistic terminology in the Renaissance were associated with the transition from church Latin to ancient, interest in the possibilities of using the Italian language and ancient Latin. Archaeological research and archaeological measurements were accompanied by philological research and attribution descriptions. The article deals with the works of F. Petrarch, L.B. Alberti, F. Biondo and other Italian humanists of the 14th – early 16th century, which contain ideas about the relationship between ancient Roman culture and the culture of the Renaissance.
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45

Barnes, Bernadine, and John Shearman. "Only Connect: Art and the Spectator in the Italian Renaissance." Sixteenth Century Journal 23, no. 4 (1992): 802. http://dx.doi.org/10.2307/2541736.

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46

Spencer, John R., and John Shearman. "Only Connect...: Art and the Spectator in the Italian Renaissance." American Historical Review 99, no. 3 (June 1994): 933. http://dx.doi.org/10.2307/2167869.

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47

Pfisterer, Ulrich, and Hellmut Wohl. "The Aesthetics of Italian Renaissance Art. A Reconsideration of Style." Zeitschrift für Kunstgeschichte 63, no. 4 (2000): 569. http://dx.doi.org/10.2307/1594965.

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48

James, Sara Nair, and Hellmut Wohl. "The Aesthetics of Italian Renaissance Art: A Reconsideration of Style." Sixteenth Century Journal 32, no. 2 (2001): 498. http://dx.doi.org/10.2307/2671774.

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49

Cohen, Jaclyn. "Quixotic Frescoes: Cervantes and Italian Renaissance Art (review)." MLN 124, no. 1 (2009): 318–19. http://dx.doi.org/10.1353/mln.0.0107.

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50

Baldwin, Robert. "TRIUMPH AND THE RHETORIC OF POWER IN ITALIAN RENAISSANCE ART." Source: Notes in the History of Art 9, no. 2 (January 1990): 7–13. http://dx.doi.org/10.1086/sou.9.2.23202626.

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