Why are women artists of the Italian Renaissance and Baroque
so relatively unknown today when, during their lifetimes, their
artistic merits were celebrated by their foremost contemporaries?
Italian Women Artists of the Renaissance and Baroque
aims to provide the first survey of women professionally active
as painters, engravers and sculptors in 16th and 17th century
Italy, and to document the sociocultural context that contributed
to shape their lives and oeuvres. This catalogue, published
in association with the travelling exhibition which opens at
the National Museum of Women in the Arts in Washington D. C.,
examines the artistic practices and achievements of these remarkable
women who managed to gain public, if not international, acclaim.
Featuring 60 outstanding works by a dozen of the foremost Italian
female artists, this volume offers an unparalleled opportunity
to understand their social, personal, and stylistic developments.
This scholarly publication will undoubtedly make a significant
contribution to the re-emergence of these women as artists of
stature and thus constitute a new departure for historical investigations
into the way gender has affected how we perceive works of art
and into issues of attributions and art market economics.
Published jointly by Prentice Hall and Harry N. Abrams Inc.,
this text/anthology provides balanced, in-depth coverage of
the painting (including miniatures), graphic arts, and sculpture
(including minor arts), in Northern Europe—from the International
Style to the Renaissance styles of the 15th and the 16th centuries.
The
Art of Florence by Glenn Andres, John Hunisak, Richard
Turner, Takashi Okamura (Photographer) – Hardcover, 1348
pages (July 1999) Artabras
Three leading art historians immerse readers in a city and a
time of unparalleled cultural ferment—analyzing Florentine
art as revealed through hundreds of glorious color photos. 701
color illustrations. 854 b&w. 2 volumes w/slipcase.
In this incisive study, Hellmut Wohl redefines style in the
Italian Renaissance in light of contemporary testimony and close
rereadings of seminal works. Through analysis of visual and
textual evidence, he posits that Renaissance artists and their
viewers conceived of art as decoration of surfaces. Offering
a new approach to the issue of style, Wohl suggests that the
scientific dimensions of early modern art works were less important
to contemporaries than their function as ornamentation.
Reader review: A perfect book for a library and coffee
table. Fredrick Hartt is a man whose love of his subject is
only equal to his willingness to expalin it in terms of the
layman. He does not limit the purview of the book to merely
the depiction of Italian life and piety, but brings in narrative
and anecdotes to enliven the tome. He introduces us to the vocabulary
of the arts, not consigning them to an inconvenient niche in
the appendix, neither condescending incessantly or immersed
in jagon. The resplendent illustrations, true eye candy, fill
the book, making it a true bargain. Hartt truly deserves the
copious awards given to him by the patrons of the arts.
Art in Renaissance Italy by John T. Paoletti, Gary
M. Radke (Contributor), John T. Paletti – Hardcover (January
1997) Harry N Abrams
A glance at the pages of Art in Renaissance Italy shows at once
its freshness and breadth of approach, which includes: How and
why works at art, buildings, prints, and other kinds of art
came to be; how men and women of the Renaissance regarded art
and artists; and why works of Renaissance art look the way they
do, and what this means to us. Unlike other books on the subject,
this one covers not only Florence and Rome. Here too are Venice
and the Veneto, Assisi, Siena, Milan, Pavia, Padua, Mantua,
Verona, Ferrara, Urbino, and Naples—each governed in a
distinctly different manner, every one with its own political
and social structures that inevitably affected artistic styles.
Spanning more than three centuries, the narrative brings to
life the rich tapestry of Italian Renaissance society and the
art works that are its enduring legacy. Throughout, special
features evoke and document the people and places of this dynamic
age.
This text combines a discussion of history and art as it focuses
on the smaller courts of Mantua, Ferrara, Naples, and Urbino
that produced an extraordinary amount of great art. The book
presents the work created there as the culmination of the desire
of princes and dukes wishing to show the world their magnificence
as rulers and their virtue as leaders of culture.
Published jointly by Prentice Hall and Harry N. Abrams Inc.,
this text/anthology provides balanced, in-depth coverage of
the painting (including miniatures), graphic arts, and sculpture
(including minor arts), in Northern Europe -- from the International
Style to the Renaissance styles of the 15th and the 16th centuries.
Focused on the marvelous collections of London's National Gallery
and written by gallery staff, this is an accessible consideration
of picture types (altarpieces, private devotions, palace decoration)
and technique (painting on panel, painting on canvas, and preparatory
drawings and studies) in the age of discovery. Using the collection
for interpretive writing of high quality makes this more than
just a catalog of pictures done at the same time and now in
the same place. The authors provide detailed discussions of
particular works and fit them into the artistic framework and
understanding of the time, a time when art schools began to
develop and when the world known to Europeans was expanding
exponentially. A fine addition to both general and specialized
art collections, this is highly recommended for all readers.
—Jack Perry Brown, Art Inst. of Chicago Lib.Copyright
2000 Reed Business Information, Inc
Bruges and the Renaissance: Memling to Pourbus by
Maximiliaan P. J. Martens (Editor), Wim Blockmans (Contributor),
Maryan Wynn Ainsworth (Contributor) – Hardcover, 320 pages
(June 1999) Harry N Abrams
In the sixteenth century, the Belgian city of Bruges was a great
cultural and economic center. It was invariably depicted in
both art and literature as the vibrant and sophisticated "Athens
of the North," in which humanist ideas took root and flourished.
This lavishly illustrated and wide-ranging study brings Bruges'
Renaissance to life. It opens in the 1480s, when artist Gerard
David settled in Bruges and Hans Memling was painting some of
his greatest masterpieces, and ends in 1584, when Pieter Pourbus,
the most important painter working in Bruges in the second half
of the sixteenth century, died in the port city. Essays by a
team of experts explore the artistic developments of the intervening
nine decades, with a focus on the spread of ideas from the Italian
Renaissance to Northern Europe. 300 illustrations, including
250 in full color
What was Venice like during the Renaissance, at the height of
its power? How did the city look, and how did its citizens live?
And just who were the people of this most cosmopolitan republic,
a leading port city of Europe and gateway to Byzantium and the
Muslim Levant? How did its splendid art differ from that of
mainland Italy, and why? Through close examination of Renaissance
paintings, drawings, book illustrations, and other art works,
Patricia Fortini Brown brings this world alive, revealing a
culture of high beauty, artifice, and craftsmanship.
The Art of the Renaissance (Masters of Art Series)
by Lucia Corrain, L. R. Galante (Illustrator), Simone Boni (Illustrator)
– Reading level: Young Adult, Library Binding, 64 pages,
1st edition, (October 1997) Peter Bedrick Books
An excellent examination of the role of art in Renaissance life,
including the actual day to day workings of the artists, their
roles in the society as a whole, and the role of art itself
in the display of "Magnificence" of the respective ruling authorities
of the various Italian states. I have run across no other book
with this unique perspective. It also discusses the role of
women and women artists, while recognizing the extreme limits
set for women, both in the society and in the creation of art
works. I regret not being able to contact the author directly
to offer my respect and admiration for such a formidable and
at the same time completely accessible work of scholarship.
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Italian
Women Artists of the Renaissance and Baroque
by Claudio Strinati, Jordana Pomeroy – Hardcover: 352 pages
Publisher: Skira (May 15, 2007) 
The
Mirror of the Artist: Northern Renaissance Art
Northern Renaissance Art 
The
Art of Florence 
The Aesthetics of Italian Renaissance Art: A Reconsideration
of Style
History of Italian Renaissance Art: Painting, Sculpture,
Architecture 
Art in Renaissance Italy 
Virtue and Magnificence: Art of the Italian Renaissance Courts
The
Northern Renaissance: Painting, Sculpture, the Graphic Arts
from 1350 to 1575
Durer
to Veronese: Sixteenth-Century Painting in the National Gallery
Bruges and the Renaissance: Memling to Pourbus
Art and Life in Renaissance Venice (Perspectives (Harry N.
Abrams, Inc)
The Art of the Renaissance (Masters of Art Series)
Renaissance Florence: The Invention of a New Art (Perspectives)
Art and Society in Italy 1350-1500 (Oxford History of Art
Series) 
Painting
and Illumination in Early Renaissance Florence, 1300-1450 
