The Italian Renaissance was a pivotal period in the history of Western culture during which artists such as Masaccio, Donatello, Fra Angelico, and Leonardo created some of the world's most influential and exciting works in a variety of artistic fields. Here, Evelyn Welch presents a fresh picture of the Italian Renaissance by challenging traditional scholarship and placingThe Italian Renaissance was a pivotal period in the history of Western culture during which artists such as Masaccio, Donatello, Fra Angelico, and Leonardo created some of the world's most influential and exciting works in a variety of artistic fields. Here, Evelyn Welch presents a fresh picture of the Italian Renaissance by challenging traditional scholarship and placing emphasis on recreating the experience of contemporary Italians: the patrons who commissioned the works, the members of the public who viewed them, and the artists who produced them. Art in Renaissance Italy 1350-1500 dramatically revises the traditional story of the Renaissance and takes into account new issues that have greatly enriched our understanding of the period. From paintings and coins to sculptures and tapestries, Welch examines the issues of materials, workshop practices, and artist-patron relationships, and explores the ways in which visual imagery related to contemporary sexual, social, and political behavior....
|Title||:||Art in Renaissance Italy: 1350-1500|
|Number of Pages||:||352 Pages|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
Art in Renaissance Italy: 1350-1500 Reviews
My second reading has consolidated the impression I had during my first encounter. This is an excellent complementary reading to another account of Art in Renaissance Italy of a more traditional sort.Evelyn Welch is treading on the path first opened by Michael Baxandall when in 1972 he published Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style. There, Baxandall gave a sharp twist to the traditional art historical approach, --ironically invented during the Italian Renaissance by Vasari. Baxandall’s effort was to use documentary evidence (such as sermons and other writings) to help us in conjuring up “the period eye” through which we could contemplate the works. Welch acknowledges from early on that this is the path of investigation she has chosen but states that we need to go further and “to multiply our vision, sensitizing our understanding” in trying to recreate the historical context.And so, instead of a lineal chronology, we move in a thematic wheel: from the material, to the spiritual, to political and religious power and back to the more down to earth, or domestic. We are reminded of the importance of the materials used, of how these were the details stipulated in contracts and over which judicial cases would arise. We examine the way artisans organized themselves and how they stood vis-a-vis those who paid them. We move away from museums back into sacred and devotional settings. We observe the men (and a few women) who called the shots, and review the ample catalogue of different political units that composed what we now call Italy. We then take a rest at the end visiting domestic environments. And all this thematic unveiling is presented with a continuous stream of examples of art works that illustrate the narrative. For this is a narrative, an expository one. There is little argument or thesis, which sometimes hampers the reader’s memory, for both the facts and the art works.In Welch’s aim at multiplying our vision, one certainly welcomes the very wide array of artists and works she evokes. She clearly moves beyond Fra Angelico, Botticelli, Raphael, Leonardo and Michaelangelo, and it becomes a sheer delight to meet the art by Giusto de Menabuoi, Cosmè Tura, Vincenzo Foppa, Andrea di Bonaiuti, Quirizio da Murano, Giovanni da Modena, Francesco Rosselli, Pietro Lombardo, Giovanni di Paolo, Agnolo Gaddi, Neroccio di Barolomeo de’Landi, Francesco del Cossa, Ercole de Roberti, Taddeo Crivelli, etc, etc, etc…But I am surprised that this book forms part of the Oxford History of Art series. For if one were to read only this book about the Italian Renaissance, one would feel as reading only the stage directions without watching the play.
A well-researched book. Welch has an interesting take on the art and architecture during a time deemed momentous. She gives voice to ordinary artisans, and, instead of merely praising again and again the familiar names of Filippo Brunelleschi, Leonardo da Vinci, and the like, she focuses on the social and political aspects which brought about the notion of arts patronage. As a firm believer in social contexts as origins of events, I found this approach intriguing as I could see art as a form of progress, based on which we can trace back and find explanations for turning points (e.g. the advent of the concept of artist/individualism/creativity), as opposed to fragments emerging from nowhere.However, I really, really wished Welch carried out more analyses of the artworks and how all the backgrounds she successfully provides are depicted through the works. It seems to me that most of the images serve to illustrate a single detail rather than unify larger/main ideas in a chapter. I was left yearning for more from her.
I'm going to have to put this one away. It may be me, but I find this book very tough going. The writing is turgid and dull, and the author doesn't seem to understand how to carry through a thread of inquiry without skipping essential steps. In other words, she doesn't understand what the elementary reader (who is the target of this book) needs to know in order to follow the discussion. As such, non-sequiturs abound. Again, it may just be that I don't have the patience to plow through this. But a book on 15th cen. art shouldn't demand such patience.
This book has the dubious honour of being the one with the picture that made me think the Virgin Mary was hot.A more academic review: written in textbook style and not a particularly advanced one at that, but important for its contribution to the field of Renaissance art history in the same vein as Baxandall, emphasizing that art was created and enjoyed in different ways and under wildly different circumstances in the past than today.
An account that focusses on the practical side of things, how art was made and commissioned and why it was bought and how it was viewed. It sadly misses out the stuff done by da Vinci, Raphael and Michelangelo in the cinquecento that most people associate with the Renaissance like the Sistine Chapel and the frescoes in the pope's apartments. Humanism is not particularly prominent in the account (as it would only become big in painting and culture more generally in the cinquecento) and sometimes the history accounted for, feels pretty dang medieval. I found the details of this history highly interesting anyway, how religious practices were massively different back then, all the guilds and their power, how women's behaviour was massively circumscribed particularly in the courts. I kinda expected some lyrical tributes to certain artists but this isn't Robert Hughes I guess and I certainly got to see a lot of interesting aspects to some of my favourite artist's work, like Donatello
Traditional histories of Italian art in the Renaissance, such as those by Vasari and Gombrich see a linear progression in technique and accomplishment from Giotto to Michelangelo. It’s a neat and satisfying way of understanding the period, but also open to some serious questioning. Welch does just that in an excellent account that examines the art through materials, relationships between artists and patrons, government, patronage, domestic and religious settings, rather than via the “genius” of individual artists. By all means read Vasari and Gombrich, they are superb, but then read Welch.
ISBN-10: 019284279XWell described. It will give an in-depth look at Renaissance Italy. For a person with a real interest…beyond being able to repeat the trivia/names… this is the book. Not a light read, and I wonder if someone without the basic names/timeline of Europe during mid-age to 1500’s (not just Italy) down would get much out of it.
Compare with those books that teach you how to appreciate a painting or a sculpture, this one is more about the external history, the working environment, the system, the materials they use and the relationship between an artist, a patron, the guild and the government in renaissance Italy.
One of the best books I've read for research while at uni!
A book for 15th century Italian t was well written with information on art, society, social and historical fact. Some chapters were slow but for the most part it was a quick and helpful read.