michelangelo-drawings-closer-to-the-master

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Presents a catalog to accompany an exhibition of drawings by Michelangelo.

A study of Michelangelo's drawings held in the collections of the British Museum. These drawings range from unfinished sketches to studies of some of his most famous works such as the Sistine chapel ceiling and the Last Judgment.

The immense effect that Michelangelo had on many of the artists working in the sixteenth century is widely acknowledged by historians of Italian Renaissance art. Yet until recently greater stress has been placed on the individuality of these artists' styles and interpretation rather than on the elucidation of their debts to others. There has been little direct focus on the ways in which later sixteenth-century artists actually confronted Michelangelo, or how those areas or aspects of their artistic production that are most closely related to his reveal their attitudes and responses to Michelangelo's work.Reactions to the Master presents the first coherent study of the influence exerted by Michelangelo's work in painting and sculpture on artists of the late-Renaissance period including Alessandro Allori, Agnolo Bronzino, Battista Franco, Francesco Parmigianino, Jacopo Pontormo, Francesco Salviati, Raphael, Giorgio Vasari, Marcello Venusti, and Alessandro Vittoria. The essays focus on the direct relations, such as copies and borrowings, previously underrated by art historians, but which here form significant keys to understanding the aesthetic attitudes and broader issues of theory advanced at the time.

Michelangelo: A Reference Guide to His Life and Works covers his life and works. The extensive A to Z section includes hundreds of entries. The bibliography provides a comprehensive list of publications concerning his life and work.

Based primarily on correspondence and other archival documents recently discovered at the Walters Art Museum and the Villa I Tatti in Florence, the intriguing story of Walters and Berenson offers unusual insight into the pleasures and perils of collecting Italian Renaissance paintings, the ethics in the marketplace, and the founding of American art museums.

"Beginning with an examination of drawing as part of the creative process, and showing how it reveals the artist's mind at work, the author explains in detail the materials and techniques used in Renaissance drawings. It also considers how drawings were used, how they changed stylistically through the period and how they varied in different regions of Italy. It concludes with a brief look at connoisseurship and collecting."--Amazon.

"More than any other medium, drawings give a direct insight into how Italian Renaissance artists worked. This book charts the development of drawing in Italy from 1400, just prior to the emergence in Florence of the classically inspired naturalism of the Renaissance, to around 1510 when Michelangelo, Rapahel and Titian were on the verge of taking the innovations of earlier masters, such as Leonardo da Vinci and Pollaiuolo, in a new direction. It brings together just over a hundred of the most remarkable drawings from the collections of the Uffizi in Florence and the British Museum in London, most of which have never been seen together before. It features nearly fifty of the greatest artists, including Filippo and Filippino Lippi, Jacopo and Gentile Bellini, Botticelli, Mantegna, Verrocchio and Carpaccio." "The book highlights the vital part drawing played in artistic teaching and shows how artists studied the human body, often using life models, and the natural world. It also explores aspects of regional difference, the development of new drawing techniques with unprecedented expressive qualities, and classes of graphic work, from preparatory drawings to finished presentation pieces made to impress patrons." "The extended introduction focuses on how and why artists drew. An emphasis on the pivotal role of Leonardo demonstrates how the spontaneity of drawings brings us a closer understanding of his imagination. This is followed by a catalogue of drawings where discussion of their significance is supported by illustrations of related works, such as paintings. The results of new scientific investigation also reveal fresh insights into how the drawings were made." --Book Jacket.

"Indexes to papers read before the Museums Association, 1890-1909. Comp. by Charles Madeley": v. 9, p. 427-452.

This publication offers an unprecedented view of a group of works by some of the most celebrated names in Italian art, including Michelangelo, Raphael, Giorgio Vasari, Federico Barocci, and Annibale Carracci, as well as lesser-known but superb artists, many of whom have only recently been appreciated for their skill and relevance. Essays by internationally recognized Renaissance scholars illuminate one of the most extraordinary periods in art history: 16th-century Rome. This lavishly illustrated publication has been produced on the occasion of an exhibition presented exclusively at the National Gallery of Canada.

A Companion to Renaissance and Baroque Art provides adiverse, fresh collection of accessible, comprehensive essaysaddressing key issues for European art produced between 1300 and1700, a period that might be termed the beginning of modernhistory. Presents a collection of original, in-depth essays from artexperts that address various aspects of European visual artsproduced from circa 1300 to 1700 Divided into five broad conceptual headings: Social-HistoricalFactors in Artistic Production; Creative Process and Social Statureof the Artist; The Object: Art as Material Culture; The Message:Subjects and Meanings; and The Viewer, the Critic, and theHistorian: Reception and Interpretation as Cultural Discourse Covers many topics not typically included in collections ofthis nature, such as Judaism and the arts, architectural treatises,the global Renaissance in arts, the new natural sciences and thearts, art and religion, and gender and sexuality Features essays on the arts of the domestic life, sexuality andgender, and the art and production of tapestries,conservation/technology, and the metaphor of theater Focuses on Western and Central Europe and that territory'sinteractions with neighboring civilizations and distantdiscoveries Includes illustrations as well as links to images not includedin the book

At thirty one, Michelangelo was considered the finest artist in Italy, perhaps the world; long before he died at almost 90 he was widely believed to be the greatest sculptor or painter who had ever lived (and, by his enemies, to be an arrogant, uncouth, swindling miser). For decade after decade, he worked near the dynamic centre of events: the vortex at which European history was changing from Renaissance to Counter Reformation. Few of his works - including the huge frescoes of the Sistine Chapel Ceiling, the marble giant David and the Last Judgment - were small or easy to accomplish. Like a hero of classical mythology - such as Hercules, whose statue he carved in his youth - he was subject to constant trials and labours. In Michelangelo Martin Gayford describes what it felt like to be Michelangelo Buonarroti, and how he transformed forever our notion of what an artist could be.

Drawings by the great Italian Mannerist painter and poet Agnolo Bronzino (1503-1572) are extremely rare. This important and beautiful publication brings together for the first time nearly all of the sixty drawings attributed to this leading draftsman of the 16th century. Each drawing is illustrated in color, discussed in detail, and shown with many comparative photographs. Bronzino's technical virtuosity as a draftsman and his mastery of anatomy and perspective are vividly apparent in each stroke of the chalk, pen, or brush. The younger generations of Florentine artists particularly admired Bronzino for his technical virtuosity as a painter, and Giorgio Vasari praised him for his powers as a disegnatore (designer and draftsman)

Drawing has always been an inseparable part of Western art-making, but its role has been subjected to increasing scrutiny during the past decades. Admiration for found objects and readymades, the endless possibilities of new technologies, and the embodiment of the artist as performer and animator of social practices as well as maker of artefacts mean that drawing practice has shifted away from the traditional life-class study, portrait likeness or town- and landscape sketch. This book is the first of its kind to address emergent ways of drawing within a richly illustrated trans-historical context and to propose ways of looking and constructions of meanings around a huge range of practices, both old and new. It celebrates Leonardo, Michelangelo, Anguissola, Durer, Rubens, Rembrandt, Goya, Fuseli, Kauffman, Ingres, Menzel, Seurat, Van Gogh, Picasso, Matisse, Bourgeois, Trockel, but it also illustrates, analyses and proposes ways to approach the drawings of many less-familiar artists and the ideas and theories that inform their work. --

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