Stephen John Campbell

Stephen L. Campbell

The Renaissance studiolo was a space devoted in theory to private reading. The most famous studiolo of all was that of Isabella d'Este, marchioness of Mantua. This work explores the function of the mythological image within a Renaissance culture of collectors.

Renaissance Mythological Painting and the Studiolo of Isabella D'Este

The Cabinet of Eros

Michael Wayne Cole

Stephen Campbell and Michael Cole introduce Italian Renaissance art in this easy-to-follow chronological survey. Drawing on the most recent scholarship, their book makes new approaches accessible to students and non-specialist readers, telling the story of art in the great centres of Rome, Florence and Venice while profiling a range of other cities and sites throughout Italy. The book uses a novel decade-by-decade structure, which allows students to follow the chronology easily, as well as enabling collaborative works to be discussed in their entirety, and ensuring that discussion of minor centres can be brought in as needed. It presents the classic canon of Renaissance painting and sculpture in full, while expanding the scope of conventional surveys by offering a more thorough coverage of architecture, decorative and domestic arts, and print media. Rather than emphasizing artists biographies, this new account concentrates on the works, discussing means of production, the places for which images were made, the concerns of patrons, and the expectations and responses of the works first viewers. Renaissance art is seen as decidedly new, a moment in the history of art whose concerns persist in the present. Dazzlingly ambitious and fiercely intelligent, this is very much a book of today, which seems destined to remain the survey of choice for years to come David Ekserdjian, Leicester University A fine and original new introduction to Italian Renaissance art [it] generates new perspectives on the progress and parameters of an entire visual tradition Tom Nichols, University of Aberdeen

A New History of Italian Renaissance Art

Evelyn S. Welch

Many artists in Renaissance Europe worked for rulers who maintained courts, yet not all of them can be accurately called "court artists." The essays featured in Artists at Court explore the experiences and artistic works of artists for whom princely service was a crucial step in their career. The contributors to this volume examine the court artist's working conditions in administrative and ceremonial capacities and how the artists' royal clients may have influenced perceptions of the artist's role and of art itself. They discuss famous artists such as Raphael, Leonardo, Claus Sluter, and Albrecht Dürer, as well as the lesser-known creators of impressive works produced for famous patrons, including the poet Petrarch, the Dukes of Savoy, and the Bentivoglio rulers of Bologna. Their examination raises questions such as: How did the artist's terms of employment compare with those of other court functionaries? To what extent did court employment correspond with the elevated characterizations of art and artists that began appearing in art treatises by Filarete, Leonardo, and Vasari, among others? A fascinating volume that challenges the traditional dichotomy between the alleged freedom of artists working under early capitalism and the supposed subordination of "craftsmen" working for autocratic rulers, Artists at Court probes the truth behind alternately romantic and oppressed conceptions of the Renaissance artist.

Stephen John Campbell

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