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Books on the topic 'Venetian Artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

John, Ross. A Venetian carnival. [East Hampton, N.Y.]: High Tide Press, 1991.

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2

Kogelnik, Kiki. Venetian heads: Art in glass. [Klagenfurt: Galerie Judith Walker], 1994.

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3

Gable, Carl I. Murano magic: Complete guide to Venetian glass, its history and artists. Atglen, Pa: Schiffer Pub., 2004.

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4

Tagliapietra, Lino. Tagliapietra: A Venetian glass maestro / edited by Marino Barovier. Dublin: Vit[r]um, Links for Pub., 1998.

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5

Tagliapietra, Lino. Tagliapietra: A Venetian glass maestro / edited by Marino Barovier. Dublin: Vit[r]um, Links for Pub., 1998.

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6

Peter, Humfrey, Clifford Timothy, Weston-Lewis Aidan, and Bury Michael, eds. The age of Titian: Venetian renaissance art from Scottish collections. Edinburgh: National Galleries of Scotland, 2004.

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7

Sesso, Giambattista Vinco Da. Antonio Canova: Opere a Possagno e nel Veneto = Works in Possagno in the Venetian region. Bassano del Grappa [Italy]: Ghedina & Tassotti, 1992.

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8

Bianchi, Giovanni, and Eugenio Manzato. Artisti veneti del '900: Il lascito Luccini. Treviso]: Comune di Treviso, Assessorato alla cultura, 1997.

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9

Lombardo, Luca. Albertino Mussato, Epistole metriche Edizione critica, traduzione e commento. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-436-3.

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The Metric Epistles of Albertino Mussato (1261-1329) are a collection of 20 compositions in Latin verse (of which, 12 in elegiac couplets, 8 in hexameters, for a total of 1,570 verses) composed between 1309 and 1326 and addressed to different recipients. The list of recipients includes friends of the author and representatives of the Paduan political and intellectual élite of the early 14th century such as the judges Rolando da Piazzola, Giovanni da Vigonza and Paolo da Teolo, the notary Zambono d’Andrea and Marsilio Mainardini; masters of grammar and rhetoric such as the Venetian Giovanni Cassio, Bonincontro from Mantua and Guizzardo from Bologna; religious personalities such as the Dominican friars Benedetto and Giovannino da Mantova, respectively lecturer and professor of theology at the Studium Generale of the convent of S. Agostino in Padua; collective recipients, such as the College of Artists and fellow citizens of Padua. After an editio princeps was printed in Venice in 1636 on the basis of a now lost manuscript, a critical edition of the Epistles is published here for the first time, including the complete corpus of the texts in the light of their entire manuscript tradition. The texts are accompanied by an Italian translation and a detailed commentary, which mainly aims to bring to light and analyse the dense intertextuality of Mussato’s poem (in particular classical Latin sources), reconsidering the cultural background of the author and his contemporaries in the context of the so-called ‘Paduan prehumanism’ and an ideal dialogue with Dante’s coeval biographical and literary experiences.

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10

Bertolotti, Antonino. Artisti veneti in Roma nei secoli XV, XVI e XVII [microform]: Studi e ricerche negli archivi romani. London: British Library, 1985.

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11

Jacobi, Lauren, and Daniel Zolli, eds. Contamination and Purity in Early Modern Art and Architecture. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462988699.

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The concepts of purity and contamination preoccupied early modern Europeans fundamentally, structuring virtually every aspect of their lives, not least how they created and experienced works of art and the built environment. In an era that saw a great number of objects and people in motion, the meteoric rise of new artistic and building technologies, and religious upheaval exert new pressures on art and its institutions, anxieties about the pure and the contaminated – distinctions between the clean and unclean, sameness and difference, self and other, organization and its absence – took on heightened importance. In this series of geographically and methodologically wide-ranging essays, thirteen leading historians of art and architecture grapple with the complex ways that early modern actors negotiated these concerns, covering topics as diverse as Michelangelo’s unfinished sculptures, Venetian plague hospitals, Spanish-Muslim tapestries, and emergency currency. The resulting volume offers surprising new insights into the period and into the modern disciplinary routines of art and architectural history.

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12

Tagliapietra, Lino. Tagliapietra: A Venetian Glass Maestro. Colophone Publishing, 1998.

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13

Gable, Carl I. Murano Magic: Complete Guide to Venetian Glass, Its History and Artists (Schiffer Art Book). Schiffer Publishing, 2004.

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14

The Painter Angelos and Icon-Painting in Venetian Crete (Variorum Collected Studies). Ashgate Pub Co, 2008.

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15

Humfrey, Peter. Age of Titian: Venetian Renaissance Art from Scottish Collections. National Galleries Of Scotland, 2006.

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16

1488-1576, Titian ca, Humfrey Peter 1947-, Weston-Lewis Aidan, and Royal Scottish Academy, eds. The age of Titian: Venetian renaissance art from Scottish collections. Edinburgh: National Galleries of Scotland, 2004.

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17

Maximilian Meisse: Venetian Settings. Wasmuth Verlag GmbH & Company, Ernst J., 2013.

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18

1697-1768, Canaletto, Beddington Charles, Yale Center for British Art, and Dulwich Picture Gallery, eds. Canaletto in England: A Venetian artist abroad, 1746-1755. New Haven, CT: Yale University Press, 2006.

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19

Canaletto in England: A Venetian Artist Abroad, 1746-1755. Yale Center for British Art, 2006.

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20

Stevenson, Jane. Chinese Wallpaper. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0009.

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In England modern taste was more often expressed by decorators than by architects. Thus interior decoration is the context in which new trends in art are absorbed and understood. A difficult concept which is visually expressed (this includes cubism, abstraction, and surrealism) can be and, if it is genuinely expressive of the moment, will be, reinterpreted as fashion and decor. The interface between interior decoration and fine art is further complicated between the wars by the number of artists who worked as designers. Women who needed to earn money tended to practise the applied and decorative arts, out of genuine affinity, or realism, or a combination of both. Undiluted modernism was very rare in England. Smart style was eclectic: baroque elements (e.g. Venetian mirrors, blackamoor torchères) were put together with eighteenth-century furniture and modern pictures.

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21

Eugenio, Manzato, and Bianchi Giovanni, eds. Artisti veneti del '900: Il lascito Luccini. [Treviso]: Comune di Treviso, Assessorato alla cultura, 1997.

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22

Beddington. Canaletto in England: A Venetian Artist Abroad, 1746-1755 (Yale Center for British Art). Yale University Press, 2007.

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23

Festa Veneziana a Ca'Toga: The Imaginative World of a Venetian Artist in Napa Valley. Ten Speed Press, 2002.

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24

Williams, Gareth D. Pietro Bembo on Etna. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190272296.001.0001.

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This book is centered on the Venetian humanist Pietro Bembo (1470–1547), on his stay in Sicily in 1492–4 to study the ancient Greek language under the Byzantine émigré Constantine Lascaris, and above all on his ascent of Mount Etna in 1493. The more particular focus of this study is on the imaginative capacities that crucially shape Bembo’s elegantly crafted account, in Latin, of his Etna adventure in his so-called De Aetna, published at the Aldine Press in Venice in 1496. This work is cast in the form of a dialogue that takes place between the young Bembo and his father, Bernardo (himself a prominent Venetian statesman with strong humanist involvements), after Pietro’s return to Venice from Sicily in 1494. But De Aetna offers much more than a one-dimensional account of the facts, sights, and findings of Pietro’s climb. Three mutually informing features that are critical to the artistic originality of De Aetna receive detailed treatment in this study: (i) the stimulus that Pietro drew from the complex history of Mount Etna as treated in the Greco-Roman literary tradition from Pindar onward; (ii) the striking novelty of De Aetna’s status as the first Latin text produced at the nascent Aldine Press in the prototype of what modern typography knows as Bembo typeface; and (iii) Pietro’s ingenious deployment of Etna as a powerful, multivalent symbol that simultaneously reflects the diverse characterizations of, and the generational differences between, father and son in the course of their dialogical exchanges within De Aetna.

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