We see Leonardo, having just completed The Last Supper, and being celebrated by all of Florence for his miraculous portrait of the wife of a textile manufacturer. That painting—the Mona Lisa—being called the most lifelike anyone had ever seen yet, more divine than human, was captivating the entire Florentine Republic.And Michelangelo, completing a commissioned statue of David, the first colossus of the Renaissance, the archetype hero for the Republic epitomizing the triumph of the weak over the strong, helping to reshape the public identity of the city of Florence and conquer its heart.In The Lost Battles, published in England to great acclaim (“Superb”—The Observer; “Beguilingly written”—The Guardian), Jonathan Jones brilliantly sets the scene of the time—the politics; the world of art and artisans; and the shifting, agitated cultural landscape. We see Florence, a city freed from the oppressive reach of the Medicis, lurching from one crisis to another, trying to protect its liberty in an Italy descending into chaos, with the new head of the Republic in search of a metaphor that will make clear the glory that is Florence, and seeing in the commissioned paintings the expression of his vision.Jones reconstructs the paintings that Leonardo and Michelangelo undertook—Leonardo’s Battle of Anghiari, a nightmare seen in the eyes of the warrior (it became the first modern depiction of the disenchantment of war) and Michelangelo’s Battle of Cascina, a call to arms and the first great transfiguration of the erotic into art. Jones writes about the competition; how it unfolded and became the defining moment in the transformation of “craftsman” to “artist”; why the Florentine government began to fall out of love with one artist in favor of the other; and how—and why—in a competition that had no formal prize to clearly resolve the outcome, the battle became one for the hearts and minds of the Florentine Republic, with Michelangelo setting out to prove that his work, not Leonardo’s, embodied the future of art. Finally, we see how the result of the competition went on to shape a generation of narrative paintings, beginning with those of Raphael.A riveting exploration into one of history’s most resonant exchanges of ideas, a rich, fascinating book that gives us a whole new understanding of an age and those at its center.

    Not a master mason or carpenter, Filippo Brunelleschi was a goldsmith and clock maker. Over twenty-eight years, he would dedicate himself to solving puzzles of the dome's construction. In the process, he did nothing less than reinvent the field of architecture. He engineered the perfect placement of brick and stone (some among the most renowned machines of the Renaissance) to carry an estimated seventy million pounds hundreds of feet into the air, and designed the workers' platforms and routines so carefully that only one man died during the decades of construction. This drama was played out amid plagues, wars, political feuds, and the intellectual ferments of Renaissance Florence - events Ross King weaves into a story to great effect. An American Library Association Best Book of the Year Boston Globe: "An absorbing tale." Los Angeles Times: "Ross King has a knack for explaining complicated processes in a manner that is not only lucid but downright intriguing... Fascinating."

    This book is an in-depth analysis of that dynamic community, focusing primarily on the years 1380-1450 in an examination of the city's physical character, its economic and social structure and developments, its political and religious life, and its cultural achievement. For this edition, Mr. Brucker has added Notes on Florentine Scholarship and a Bibliographical Supplement.

    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.

    This XXL-format comprehensive survey is the most complete book ever made on the subject of this Italian painter, sculptor, architect, engineer, scientist and all-around genius. With huge, full-bleed details of Leonardo's masterworks, this highly original publication allows the reader to inspect the subtlest facets of his brushstrokes. * Part I explores Leonardo's life and work in ten chapters. All of his paintings are interpreted in depth, with The Annunciation and The Last Supper featured on large double-spreads. * Part II comprises a catalogue raisonn? of Leonardo's paintings, which covers all of his surviving and lost painted works and includes texts describing their states of preservation. * Part III contains an extensive catalogue of his drawings (numbering in the thousands, they cannot all be reproduced in one book); 663 are presented, arranged by category (architecture, technical, anatomical, figures, proportion, cartography, etc). This sumptuous TASCHEN offering is the most thorough and beautifully produced Leonardo book ever published, and this special edition offers it for a third of the usual price.

    Inspired by the order and beauty inherent in nature, his groundbreaking work sets out the principles of distance, dimension and proportion; instructs the painter on how to use the rules of composition, representation, light and colour to create work that is graceful and pleasing to the eye; and stipulates the moral and artistic pre-requisites of the successful painter. On Painting had an immediate and profound influence on Italian Renaissance artists including Ghiberti, Fra Angelico and Veneziano and on later figures such as Leonardo da Vinci, and remains a compelling theory of art.

    Serving as both an introduction to fifteenth-century Italian painting and as a text on how to interpret social history from the style of pictures in a given historical period, this new edition to Baxandall's pre-eminent scholarly volume examines early Renaissance painting, and explains how the style of painting in any society reflects the visual skills and habits that evolve out of daily life. Renaissance painting, for example, mirrors the experience of such activities as preaching, dancing, and gauging barrels. The volume includes discussions of a wide variety of painters, including Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Masaccio, Luca Signorelli, Boccaccio, and countless others. Baxandall also defines and illustrates sixteen concepts used by a contemporary critic of painting, thereby assembling the basic equipment needed to explore fifteenth-century art.

    The sheer number and proximity of works of painting, sculpture, and architecture in Florence can be so overwhelming that Florentine hospitals treat hundreds of visitors each year for symptoms brought on by trying to see them all, an illness famously identified with the French author Stendhal.While most guidebooks offer only brief descriptions of a large number of works, with little discussion of the historical background, Judith Testa gives a fresh perspective on the rich and brilliant art of the Florentine Renaissance in An Art Lover’s Guide to Florence. Concentrating on a number of the greatest works, by such masters as Botticelli and Michelangelo, Testa explains each piece in terms of what it meant to the people who produced it and for whom they made it, deftly treating the complex interplay of politics, sex, and religion that were involved in the creation of those works. With Testa as a guide, armchair travelers and tourists alike will delight in the fascinating world of Florentine art and history.

    A republican city-state funded by trade and banking, its often bloody political scene was dominated by rich mercantile families, the most famous of which were the Medici. This enthralling book charts the family's huge influence on the political, economic and cultural history of Florence. Beginning in the early 1430s with the rise of the dynasty under the near-legendary Cosimo de Medici, it moves through their golden era as patrons of some of the most remarkable artists and architects of the Renaissance, to the era of the Medici Popes and Grand Dukes, Florence's slide into decay and bankruptcy, and the end, in 1737, of the Medici line.

    Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

    This richly illustrated and expert study follows the artist from the early gloom-laden paintings in which he captured the misery of peasants and workers in his homeland, through his bright and colorful Parisian period, to the work of his final years, spent under a southern sun in Arles.

    At times a painter, sculptor, inventor, draftsman, and anatomist, Leonardo's life cannot easily be summarized. And yet, Nicholl skillfully traces the artist's early days as an illegitimate child in Tuscany; his apprenticeship with Verrocchio in Florence; his service with some of the most powerful Renaissance families; his relationships with Michelangelo and Machiavelli; and his final days at the French royal court. In addition, Nicholl looks beyond the well-known stories of Leonardo's famous masterpieces, and gives us a glimpse into the artist's everyday life. We learn of Leonardo's penchant for jokes, his fascination with flight, his obsessive note making, and even what he ate. Nicholl weaves these details together in a fascinating portrait that goes far towards revealing the enigmatic figure who continues to fascinate present-day readers.

    With this book in hand, thousands of students have watched the story of art unfold in its full historical, social, religious, economic, and cultural context, and thus deepened their understanding of art, architecture, painting, and sculpture. By virtue of its comprehensive coverage, strong emphasis on context, and rich, accurate art reproductions, GARDNER'S ART THROUGH THE AGES has earned and sustained a reputation of excellence and authority. So much so, that in 2001, the Text and Academic Authors Association awarded both the McGuffey and the "Texty" Book Prizes to the Eleventh Edition of the text. It is the first art history book to win either award and the only title ever to win both prizes in one year. The Twelfth Edition maintains and exceeds the richness of the Gardner legacy with updated research and scholarship and an even more beautiful art program featuring more color images than any other art history book available. The Twelfth Edition features such enhancements as more color photographs, a stunning new design, and the most current research and scholarship. What's more, the expanded ancillary package that accompanies GARDNER'S ART THROUGH THE AGES, features a wealth of tools to enhance your students' experience in the course. With each new copy of the book, students receive a copy of the ArtStudy 2.0 CD-ROM--an interactive electronic study aid that fully integrates with the Twelfth Edition and includes hundreds of high-quality digital images, plus maps, quizzes, and more.

    Extensive glossary and updated bibliography. 833 illustrations, including 105 in full color.

    Having finally earned the money and gained the respect he sought in his early days as a struggling painter, Monet designed and built the home and gardens in the village on the Seine that would be the site of the famous "Grain Stacks" and "Water Lilies" paintings that would secure his reputation. A good, affordable introductory study of the pioneer of modern art.