Raphael was one of the most important artists of the Italian Renaissance and one of the most important and influential in the entire history of art. His practice of 'synthetic' or 'critical' imitation became a model of creative method; his engagement with the principle of decorum revealed its deeper expressive and philosophical significance and the operation of his workshop helped to redefine the nature of the work that artists do. Robert Williams draws upon the history of literature, philosophy, and religion, as well as upon economic history, to support his detailed and illuminating accounts of Raphael's major works. His analyses serve as the foundation for a set of hypotheses about the aims and aspirations of Italian Renaissance art in general and the nature of art-historical inquiry.

https://jps.library.utoronto.ca/index.php/renref/article/download/32893/25233

Raphael and the Redefinition of Art in Renaissance Italy

The intention of this dissertation is to open up collaborative pictures to meaningful analysis by accessing the perspectives of early modern viewers. The Italian primary sources from the fifteenth to the seventeenth centuries yield a surprising amount of material indicating both common and changing habits of thought when viewers looked at multiple authorial hands working on an artistic project. It will be argued in the course of this dissertation that critics of the seventeenth century were particularly attentive to the practical conditions of collaboration as the embodiment of theory. At the heart of this broad discourse was a trope extolling painters for working with what appeared to be one hand, a figurative and adaptable expression combining the notion of the united corpo and the manifold meanings of the artist’s mano. Hardly insistent on uniformity or anonymity, writers generally believed that collaboration actualized the ideals of a range of social, cultural, theoretical, and cosmological models in which variously formed types of unity were thought to be fostered by the mutual support of the artists’ minds or souls. Further theories arose in response to Giovanni Paolo Lomazzo’s hypothesis in 1590 that the greatest painting would combine the most highly regarded old masters, each contributing their particular talents towards the whole. Presented with this ideal involving inimitable hands and minds, Francesco Scannelli, Carlo Cesare Malvasia, and Marco Boschini each reflected on the practical conditions and possibilities of

Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy

Key Writers on Art: From Antiquity to the Nineteenth Century offers a unique and authoritative guide to theories of art from Ancient Greece to the end of the Victorian era, written by an international panel of expert contributors. Arranged chronologically to provide an historical framework, the 43 entries analyze the ideas of key philosophers, historians, art historians, art critics, artists and social scientists, including Plato, Aquinas, Alberti, Michelangelo, de Piles, Burke, Schiller, Winckelmann, Kant, Hegel, Burckhardt, Marx, Tolstoy, Taine, Baudelaire, Nietzsche, Ruskin, Pater, Wolfflin and Riegl.Each entry includes:* a critical essay* a short biography* a bibliography listing both primary and secondary textsUnique in its range and accessibly written, this book, together with its companion volume Key Writers on Art: The Twentieth Century, provides an invaluable guide for students as well as general readers with an interest in art history, aesthetics and visual culture.

Key Writers on Art: From Antiquity to the Nineteenth Century

"New Books across the Disciplines" is a bibliographic resource that facili- tates a cross-disciplinary survey of recent publications. Its scope ranges from late antiquity to the seventeenth century. Coverage is comprehensive for the large majority of North American and British publishers. Other European titles are included whenever received. Books are classified under variable topical headings and listed alphabetically by author's name. Entries include complete bibliographical data and annotations. Unless designated for paper- back editions, prices given are for cloth editions. For paperback reprint edi- tions, original publication dates are given in parentheses. With few excep- tions, books appearing here have been published within the previous two years. Many will be listed here before they are ordered and shelved by libraries.

New Books across the Disciplines

Figural and non-figural supports are a ubiquitous feature of Roman marble sculpture; they appear in sculptures ranging in size from miniature to colossal and of all levels of quality. At odds with modern ideas about beauty, completeness, and visual congruence, these elements, especially non-figural struts, have been dismissed by scholars as mere safeguards for production and transport. However, close examination of these features reveals the tastes and expectations of those who commissioned, bought, and displayed marble sculptures throughout the Mediterranean in the Hellenistic and Roman periods. Drawing on a large body of examples, Greek and Latin literary sources, and modern theories of visual culture, this study constitutes the first comprehensive investigation of non-figural supports in Roman sculpture. The book overturns previous conceptions of Roman visual values and traditions and challenges our understanding of the Roman reception of Greek art.

Supports in Roman Marble Sculpture: Workshop Practice and Modes of Viewing

The complete sculpture of Michelangelo

First published in 1953, this book remains a classic piece of literature on the work and life of Michelangelo (1475-1564). It continues to be the only volume to contain illustrations of all his paintings, sculpture and architecture. The book is designed to serve both the student and the art lover: the fine quality reproductions emphatically illustrate Michelangelo's genius, while the text surveys the ideas and theses of the world's leading scholars on the painting, sculpture and architecture of Michelangelo and provides a detailed and sophisticated commentary with extensive bibliographical notes. The exhaustive selection of plates devoted to the paintings of the Sistine Chapel provides an invaluable record of their condition before the recent controversial cleaning, while ten colour plates show some of the paintings in their restored state, offering the works to the reader's eye for close discrimination.

Michelangelo : paintings, sculptures, architecture : complete edition

Vittoria Colonna e Michelangelo

full view, looking up, from the observer's left, depicting central niche with Moses and the reclining Pope above

Tomb of Julius II

This magnificent five-volume work on the life and art of the great Florentine is being written by one of the world's most eminent art scholars. The volumes cover the entire artistic activity of Michelangelo period by period-his life, his sources of inspiration, and all essential information about both the extant and the lost works.

The final period : Last Judgment, Frescoes of the Pauline Chapel, Last Pietàs

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Michelangelo Buonarroti

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