In this vividly written biography, William E. Wallace offers a substantially new view of the artist. Not only a supremely gifted sculptor, painter, architect, and poet, Michelangelo was also an aristocrat who firmly believed in the ancient and noble origins of his family. The belief in his patrician status fueled his lifelong ambition to improve his family's financial situation and to raise the social standing of artists. Michelangelo's ambitions are evident in his writing, dress, and comportment, as well as in his ability to befriend, influence, and occasionally say "no" to popes, kings, and princes. Written from the words of Michelangelo and his contemporaries, this biography not only tells his own stories but also brings to life the culture and society of Renaissance Florence and Rome. Not since Irving Stone's novel The Agony and the Ecstasy has there been such a compelling and human portrayal of this remarkable yet credible human individual.Subscribe to William Wallace's podcast on individual works of the master! Click here!Episodes every week, right from this bookmark or your feed reader.

    Her most cherished sights and experiences color this timeless, graceful portrait of a city that's as famous as it is alluring.

    From that exhilarating portrait, he takes us back more than two thousand years to the city's foundation, one mired in mythologies and superstitions that would inform Rome's development for centuries.From the beginning, Rome was a hotbed of power, overweening ambition, desire, political genius, and corruption. Hughes details the turbulent years that saw the formation of empire and the establishment of the sociopolitical system, along the way providing colorful portraits of all the major figures, both political (Julius Caesar, Marcus Aurelius, Nero, Caligula) and cultural (Cicero, Martial, Virgil), to name just a few. For almost a thousand years, Rome would remain the most politically important, richest, and largest city in the Western world.From the formation of empire, Hughes moves on to the rise of early Christianity, his own antipathy toward religion providing rich and lively context for the brutality of the early Church, and eventually the Crusades. The brutality had the desired effect—the Church consolidated and outlasted the power of empire, and Rome would be the capital of the Papal States until its annexation into the newly united kingdom of Italy in 1870.As one would expect, Hughes lavishes plenty of critical attention on the Renaissance, providing a full survey of the architecture, painting, and sculpture that blossomed in Rome over the course of the fourteenth through the sixteenth centuries, and shedding new light on old masters in the process. Having established itself as the artistic and spiritual center of the world, Rome in the seventeenth, eighteenth, and nineteenth centuries saw artists (and, eventually, wealthy tourists) from all over Europe converging on the bustling city, even while it was caught up in the nationalistic turmoils of the Italian independence struggle and war against France.Hughes keeps the momentum going right into the twentieth century, when Rome witnessed the rise and fall of Italian Fascism and Mussolini, and took on yet another identity in the postwar years as the fashionable city of "La Dolce Vita." This is the Rome Hughes himself first encountered, and it's one he contends, perhaps controversially, has been lost in the half century since, as the cult of mass tourism has slowly ruined the dazzling city he loved so much. Equal parts idolizing, blasphemous, outraged, and awestruck, Rome is a portrait of the Eternal City as only Robert Hughes could paint it.

    Here are the compelling stories of seven islands which mapmakers documented and depicted in the Age of Discovery, but which really arose from sailors' tales and fanciful legends brought back from the uncharted wilderness that was the Atlantic Ocean.Donald S. Johnson reveals each island's dark origins and mysterious cartographic life through an intricate exploration of history and myth. From the Isle of Demons, born of a fable invented by pious Christians, to the elusive Buss Island, the creation of an ambitious explorer, these places of the imagination are a fascinating legacy of a bygone age. Beautifully illustrated with dozens of maps and engravings, Phantom Islands of the Atlantic brings these legendary lands to life for a remarkable odyssey into the human spirit of exploration.

    Nothing of the scope and magnitude of this work had ever been conceived; the first complete history of modern art, it is widely regarded as the most influential art history book ever written. The Lives' colorful and detailed portraits of the most representative figures of Italian painting and sculpture trace the flowering of the Renaissance across three centuries. This single-volume edition of selections from Vasari's immense work features eight of the book's most noteworthy artists: Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo da Vinci, Raphael, Michelangelo, and Titian. It also includes an introduction, notes, and glossary; as well as woodcut portraits of each artist by Vasari himself. Students, teachers, and art enthusiasts will find this convenient edition an indispensable resource.

    Treasury. And Alva Vanderbilt squandered tens of thousands on one evening to crack the closed social circle of the Mrs. Astor. And when Jay Gould, of Black Friday fame, sent his card to one of the Rothschilds, it was returned with the comment, "Europe is not for sale." It was this climate of mid- and late-nineteenth-century excess that fostered the most rapid period of growth in the history of the United States, replacing the unyielding Puritanism of Cotton Mather with the flexible creed of Henry Ward Beecher. National Book Award nominee Milton Rugoff gives his uniquely revealing view of the Gilded Age in this collective biography of Americans from 1850 to 1890. Writing on the political spoilsmen, money kings, parvenus, forty-niners, lords of the press, sexual transgressors, and women's rights leaders, Rugoff focuses on thirty-six men and women from almost every walk of life. His exponents include U.S. Grant, John Charles Frémont, Cornelius Vanderbilt, Jim Fisk, Elizabeth Cady Stanton, Horatio Alger, free-love advocate Victoria Woodhull, first female surgeon Bethenia Owens-Adair, Brigham Young's rebellious nineteenth wife Anna Eliza Young, Boston Brahmin Charles Eliot Norton, Gold Rush pioneer Sarah Royce, black visionary Sojourner Truth, and to critique American society, Walt Whitman. In examining the Gilded Age, Milton Rugoff offers fresh glimpses into the lives of the celebrities of the era, as well as some lesser-known Americans, while at the same time revealing the roots of problems that still plague us today.

    Italy, the year 1502. Leonardo da Vinci, engineer and possible spy in the court of Cesare Borgia, crosses paths with Niccolo Machiavelli, at that time Florentine ambassador.The two men formed a friendship, and joined together in an attempt to carry out one of Leonardo's most fantastic dreams: to build a system of canals that would make the Arno river navigable from Florence to the sea. While the primary reason for the project was military, da Vinci and Machiavelli also had commerce in mind. They envisioned a day when explorers would be able to sail from the city center to the sea and back, bringing riches from the New World for the greater glory of Florence.

    The new arms transformed society, too, as cities were built and rebuilt to limit the effects of bombardment by cannon. This book follows these far-reaching changes in comprehensive and fascinating detail and demonstrates how the innovations of the Renaissance paved the way to further changes in warfare.An in-depth technical look at the weaponry of the age and the tactical drills that honed the skills of Renaissance soldiersThe epic wars abroad between Western Christians and the Muslim Turks Civil strife at home between despotic rulers and rebellious forcesKingly duels that play out on an international stage

    Charles Mee, historian and playwright, renders a finely textured portrait of the artist against a richly described background of seventeenth-century life.He captures the human Rembrandt, the ordinary man and unexpected genius. We see the youthful, arrogant poseur, son of a small-town miller, seeking a life of art amid the cosmopolitan bustle of Amsterdam in its heyday. We see the outsider struggling to rise without patron or court commissions, failing as an entrepreneur while immortalizing simple people in works of haunting complexity.We see the inspired moments behind masterworks like TheAnatomy Lesson and Nightwatch and all the conflicting guises of their creator - bohemian and aspiring bourgeois, husband and lover, honored genius, penurious vagabond, and, finally, the essential dichotomy - the egocentric master who, despite his intense self-absorption, captured the diversity of humanity with extraordinary empathy, sensitivity, and grace.Charles Mee’s Rembrandt’s Portrait is a major, enduring work.

    But why was there such an artistic, cultural, and intellectual explosion in Italy at the start of the 14th century? Why did it occur in Italy? And why in certain Italian city-states such as Florence? Professor Bartlett probes these questions and more in 36 dynamic lectures. This is your opportunity to appreciate the results of the Italian Renaissance and gain an understanding of the underlying social, political, and economic forces that made such exceptional art and culture possible. At the heart of Renaissance Italy were the city-states, home to the money, intellect, and talent needed for the growth of Renaissance culture. You'll look at the Republic of Florence, as well as other city-states that, thanks to geographical and historical circumstances, had much different political and social structures. This course contains a wealth of details that will give you a feel and appreciation for the Italian Renaissance - its contributions to history, the ways it was similar and dissimilar to our times, and how the people of the time, both famous and ordinary, experienced it. You'll come away surprised by how much of our modern life was made possible by the Renaissance. Our concept of participatory government, our belief in the value of competition, our philosophy of the content and purpose of education, even our notions of love all have roots in the Renaissance period. Its loftiest ideals - the importance of the individual, the value of human dignity and potential, and the promotion of freedom - are ones we embrace as our own.

    

    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.

    Control of this vast territory was meant to provide the basis for Germany's rise to unquestioned world power. Eastern Europe was to be the Reich's Wild West, transformed by massacre and colonial settlement. Western Europe was to provide the economic resources that would knit an authoritarian and racially cleansed continent together. But the brutality and short-sightedness of Nazi politics lost what German arms had won and brought their equally rapid downfall.Time and again, the speed of the Germans' victories caught them unprepared for the economic or psychological intricacies of running such a far-flung dominion. Politically impoverished, they had no idea how to rule the millions of people they suddenly controlled, except by bludgeon.Mazower forces us to set aside the timeworn notion that the Nazis' worldview was their own invention. Their desire for land and their racist attitudes toward Slavs and other nationalities emerged from ideas that had driven their Prussian forebears into Poland and beyond. They also drew inspiration on imperial expansion from the Americans and especially the British, whose empire they idolized. Their signal innovation was to exploit Europe's peoples and resources much as the British or French had done in India and Africa. Crushed and disheartened, many of the peoples they conquered collaborated with them to a degree that we have largely forgotten. Ultimately, the Third Reich would be beaten as much by its own hand as by the enemy.Throughout this book are fascinating, chilling glimpses of the world that might have been. Russians, Poles, and other ethnic groups would have been slaughtered or enslaved. Germans would have been settled upon now empty lands as far east as the Black Sea—the new "Greater Germany". Europe's treasuries would have been sacked, its great cities impoverished and recast as dormitories for forced laborers when they were not deliberately demolished. As dire as all this sounds, it was merely the planned extension of what actually happened in Europe under Nazi rule as recounted in this authoritative, absorbing book.

    George Bull, a distinguished translator of many Italian classics, has brought his skill and experience to bear on translating this new selection of Michelangelo's letters and poetry, as well as the 'Life' the biography written by Michelangelo's pupil Ascanio Condivi.

    Traces the lives of the famous Italian family, discusses their influence in religion and politics, and looks at period in which they lived.