Artistic Theory in Italy, 1450-1600
This book seeks to broaden the comprehension of the student of Italian Renaissance painting by concentrating not on the works of art themselves, but on the various artistic theories which influenced them or were expressed by them. Taking Alberti's treatises as his starting-point, Anthony Blunt traces the development of artistic theory from Humanism to Mannerism. He discusses the writings of Leonardo, Savonarola, Michelangelo, and Vasari, examines the effect of the Council of Trent on religious art, and chronicles the successful struggle of the painters and sculptors themselves to elevate their status from craftsmen to creative artists.
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THE SOCIAL POSITION OF THE ARTIST
THE MINOR WRITERS OF THE HIGH RENAIS
THE LATER MANNERISTS
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Academy Alberti ancient antiquity appears architect architecture Aretino Armenini artist authority beauty Borghini Borromeo buildings Carracci Christian Church classical classical antiquity colour connexion Council of Trent Counter-Reformation Delia Pittura detail dialogue disegno divine doctrine Dolce drawing early emotional expressed Federico Zuccaro feeling Florence Florentine frescoes Gaudenzio Ferrari Gilio da Fabriano give Gothic grace High Renaissance Humanist Hypnerotomachia Hypnerotomachia Poliphili Ibid ideas images imagination imitation of nature importance instance Italian Italy Jesuits kind Last Judgement later Mannerists Leonardo Lomazzo maniera manner Mannerists mathematics matter means medieval ment methods Michelangelo mind Molanus mystical Neoplatonic Neoplatonists nude Oxford painter Palazzo passage perfect perspective poetry principles proportion Quattrocento Raphael rational reason reform religious art religious paintings Rome Savonarola says scientific sculpture seems spiritual style Tempio della Pittura theory things tion Titian Trattato treatise typical Vasari Venice Vitruvius whole writings Zuccaro