Gary M. Radke

John T. Paoletti

"Art mattered in the Renaissance... People expected painting, sculpture, architecture, and other forms of visual art to have a meaningful effect on their lives, " write the authors of this important new look at Italian Renaissance art. A glance at the pages of Art in Renaissance Italy shows at once its freshness and breadth of approach, which includes thorough explanation into how and why works of art, buildings, prints, and other kinds of art came to be. This book discusses how men and women of the Renissance regarded art and artists as well as why works of Renaissance art look the way they do, and what this means to us. It covers not only Florence and Rome, but also 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.

Art in Renaissance Italy

Barbara Deimling

Jonathan K. Nelson

This engaging collection of fifteen essays offers new perspectives on a wide range of subjects in Italian art history, architecture, history, and urban studies. Topics range from eleventh-century urbanism in Florence and northern influences on Lombard painting to the rewriting of history in the nascent Italian state. The contributors are former students of Syracuse University’s Florence Graduate Program in Renaissance Art. The volume is dedicated to Professor Rab Hatfield, a renowned teacher and scholar in Italian Renaissance studies. He has taught at Syracuse University in Florence since 1971.

A Festschrift for Rab Hatfield

Italian Art, Society, and Politics

Martin Kemp

Pietro C. Marani

Andrea Bernardoni

Darin J. Stine

Tommaso Mozzati

Philippe Sènèchal

Leonardo da Vinci (1452–1519) is renowned as a painter, designer, draftsman, architect, engineer, scientist, and theorist. His work as a sculptor is not commonly acknowledged, and many have argued that Leonardo believed that sculpture was an inferior art form (“of lesser genius than painting”). Challenging and overturning these assumptions, Leonardo da Vinci and the Art of Sculpture looks at the sculptural projects that the artist undertook, as well as the late Renaissance sculptures that were indebted to him. Leonardo consistently drew inspiration from ancient sculpture, admired the work of such contemporary sculptural innovators as Donatello, and even trained under Andrea del Verrocchio, the preeminent bronze sculptor of late 15th-century Florence. Furthermore, Leonardo spent many years of his life working on two larger-than-life-sized horse sculptures—Sforza and Trivulzio—monuments to Francesco Sforza, the Duke of Milan, and to Gian Giacomo Trivulzio, his sucessor. Although neither was completed, the authors argue that these equestrian monuments show how Leonardo was intensely engaged with the design dilemmas of representing a horse rearing on its hind legs. Another highlight of the book is a group of new images of the John the Baptist Preaching to a Levite and a Pharisee, a recently restored large-scale work in the Florentine Baptistery that clearly demonstrates Leonardo’s collaboration with Giovanni Rustici.

Leonardo Da Vinci and the Art of Sculpture

A rich account of the giant bronze doors created by Florentine sculptor Lorenzo Ghiberti--so exquisite that Michelangelo proclaimed them suitable to serve as the Gates of Paradise.

Lorenzo Ghiberti's Renaissance Masterpiece

The Gates of Paradise

Se trata de un manual sobre el Arte de la Italia en la época del Renacimiento, del siglo XIII al XVII. Tras una introducción de carácter general, sobre el marco histórico y los materiales y métodos utilizados, la obra abarca la historia de las distintas manifestaciones artísticas en sus distintos focos culturales, analizando sistemáticamente ciudad por ciudad en los distintos períodos.

El arte en la Italia del Renacimiento

For an introductory-level course in natural hazards Natural Hazards uses real-life examples of hazards and disasters to explore how and why they happen--and what we can do to limit their effects. The text's up-to-date coverage of recent disasters brings a fresh perspective to the material. The Fourth Edition provides a new active learning approach, a fully updated visual program and revised pedagogy tools that highlight hallmark concepts of the text. Students have access to an updated Hazard City , an online media resource which gives instructors meaningful, easy-to-assign, and easy-to-grade assignments in which students investigate virtual disasters in the fictional town of Hazard City. This program will provide an interactive and engaging learning experience for your students. Here's how: Provide a balanced approach to the study of natural hazards: Focus on globalization of our economy, information access, and human effects on our planet in a broader, more balanced approach to the study of natural hazards. Engage your students with "Hazard City": Students work through 11 different assignments by stepping into the role of a practicing geologist and analyzing potential disasters in the fictional town of Hazard City. Enhance understanding and comprehension of natural hazards: Newly revised stories and case studies give students a behind the scenes glimpse into the lives of survivors, professionals and hazardous events. Strong pedagogy tools reinforce the text's core features: The new chapter structure and design organizes the material into three major sections to help students learn, digest, and review learning objectives. Note: You are purchasing a standalone product; My_Lab/Mastering does not come packaged with this content. If you would like to purchase both the physical text and My_Lab/Mastering search for ISBN-10: 0133907651/ISBN-13: 9780133907650. That package includes ISBN-10: 0321939964/ISBN-13: 9780321939968 and ISBN-10: 0321970349 /ISBN-13: 9780321970343. My_Lab/Mastering is not a self-paced technology and should only be purchased when required by an instructor.

An innovative look at Leonardo through the lens of the sculpture that he studied, the sculptural projects that he undertook, and the sculptural works that he inspired Leonardo da Vinci (1452-1519) is renowned as a painter, designer, draftsman, architect, engineer, scientist, and theorist. His work as a sculptor is not commonly acknowledged, and many have argued that Leonardo believed that sculpture was an inferior art form ("of lesser genius than painting"). Challenging and overturning these assumptions, Leonardo da Vinci and the Art of Sculpture looks at the sculptural projects that the artist undertook, as well as the late Renaissance sculptures that were indebted to him. Leonardo consistently drew inspiration from ancient sculpture, admired the work of such contemporary sculptural innovators as Donatello, and even trained under Andrea del Verrocchio, the preeminent bronze sculptor of late 15th-century Florence. Furthermore, Leonardo spent many years of his life working on two larger-than-life-sized horse sculptures--Sforza and Trivulzio--monuments to Francesco Sforza, the Duke of Milan, and to Gian Giacomo Trivulzio, his sucessor. Although neither was completed, the authors argue that these equestrian monuments show how Leonardo was intensely engaged with the design dilemmas of representing a horse rearing on its hind legs. Another highlight of the book is a group of new images of the John the Baptist Preaching to a Levite and a Pharisee, a recently restored large-scale work in the Florentine Baptistery that clearly demonstrates Leonardo's collaboration with Giovanni Rustici.

Gary M. Radke

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