{"product_id":"renaissance-art-reconsidered-isbn-9781405146401","title":"Renaissance Art Reconsidered","description":"\u003ci\u003eRenaissance Art Reconsidered\u003c\/i\u003e showcases the aesthetic principles and the workaday practices guiding daily life through these years of extraordinary human achievement. \u003cbr\u003e \u003cul\u003e \u003cli style=\"list-style: none\"\u003e\n\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eA major new anthology, bringing to life the places, works, media, and issues that define Renaissance art\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eIdeal for use on Renaissance studies courses and for reference by students of art history\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eMoves beyond the borders of Italy to consider European, Mediterranean, and post Byzantine art, widening the traditional focus of Renaissance art\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eIncludes letters, treatises, contracts, inventories, and other public documents, many of which are translated into English for the first time in this volume\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eShowcases the aesthetic principles and the workaday practices guiding daily life through these years of extraordinary human achievement, providing crucial insight into the art and the context in which it was produced.\u003c\/li\u003e \u003c\/ul\u003e  Notes on Contributors. \u003cp\u003ePreface.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: Making Renaissance Art.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDrawing and Workshop Practice.\u003c\/p\u003e \u003cp\u003eCennino Cennini on Drawing.\u003c\/p\u003e \u003cp\u003eAlberti on Drawing Figures.\u003c\/p\u003e \u003cp\u003eFrancesco Squarcione Details the Drawing Regime for his Pupils.\u003c\/p\u003e \u003cp\u003eGerard Horenbout takes on two Apprentices.\u003c\/p\u003e \u003cp\u003eA Master’s Duty of Care for his Apprentices.\u003c\/p\u003e \u003cp\u003eLeonardo da Vinci on Drawing.\u003c\/p\u003e \u003cp\u003eDürer gives Drawings as Gifts and Uses them to pay day-to-day Expenses.\u003c\/p\u003e \u003cp\u003eDürer Lists the Qualities Required to be a Painter.\u003c\/p\u003e \u003cp\u003eJoachim Camerarius Praises Dürer’s Drawings.\u003c\/p\u003e \u003cp\u003eLinear Perspective.\u003c\/p\u003e \u003cp\u003eCennino Cennini’s Method for Depicting Buildings in a Painting.\u003c\/p\u003e \u003cp\u003eAlberti and the Earliest Written Description of Single-point Perspective.\u003c\/p\u003e \u003cp\u003eLorenzo Ghiberti Lists the Sources for Perspective.\u003c\/p\u003e \u003cp\u003eFilarete’s Method for Making Drawings of Buildings.\u003c\/p\u003e \u003cp\u003ePiero Della Francesca’s Perspective for Painters.\u003c\/p\u003e \u003cp\u003eManetti’s Descriptions of Brunelleschi’s Experiments.\u003c\/p\u003e \u003cp\u003eLeonardo da Vinci on single-point and Aerial Perspective.\u003c\/p\u003e \u003cp\u003eSculpture.\u003c\/p\u003e \u003cp\u003ePosthumous Inventory of Tournai Sculptor Colart le Cat.\u003c\/p\u003e \u003cp\u003eMichelozzo and Donatello are Contracted to make the Prato Pulpit.\u003c\/p\u003e \u003cp\u003eReport on Donatello’s Progress on the Prato Pulpit.\u003c\/p\u003e \u003cp\u003eThe Brussels Painters’ Guild Claims Exclusive Rights to Market Painted Works of Art.\u003c\/p\u003e \u003cp\u003eExtracts from De Statua by Leon Battista Alberti.\u003c\/p\u003e \u003cp\u003e1470 regulations of the Antwerp Guild of St Luke.\u003c\/p\u003e \u003cp\u003eUtrecht Sculptor Adriaen van Wesel makes a Carved Altarpiece for the Confraternity of Our Ladys’ Hertogenbosch.\u003c\/p\u003e \u003cp\u003eArchitecture.\u003c\/p\u003e \u003cp\u003eFilarete’s System of Architecture.\u003c\/p\u003e \u003cp\u003eBrunelleschi’s Practice of Architecture.\u003c\/p\u003e \u003cp\u003ePanel Painting.\u003c\/p\u003e \u003cp\u003eCennino Cennini’s Instructions on How to Paint Drapery in a Fresco Painting.\u003c\/p\u003e \u003cp\u003eCennino Cennini’s Instructions on How to Acquire the Skills to Paint on Panel.\u003c\/p\u003e \u003cp\u003eCennino Cennini’s Instructions on How to Prepare and Size a Panel.\u003c\/p\u003e \u003cp\u003eCennino Cennini’s Instructions on How to Paint a Panel.\u003c\/p\u003e \u003cp\u003eContract for Sassetta’s Madonna della Neve Altarpiece.\u003c\/p\u003e \u003cp\u003eA Fee is fixed for Madonna della Neve Altarpiece.\u003c\/p\u003e \u003cp\u003eSecond Valuation of Sassetta’s Madonna della Neve Altarpiece.\u003c\/p\u003e \u003cp\u003eFinal Valuation of Sassetta’s Madonna della Neve Altarpiece.\u003c\/p\u003e \u003cp\u003eContract for Enguerrand Quarton’s Coronation of the Virgin Altarpiece.\u003c\/p\u003e \u003cp\u003ePrints and Printmaking.\u003c\/p\u003e \u003cp\u003eAn ordinance from the Stadsarchief, Leuven, Concerning Printmaker Jan van den Berghe.\u003c\/p\u003e \u003cp\u003eThe Hard Business of Printing.\u003c\/p\u003e \u003cp\u003eA Printer tries to Protect his Creative Rights.\u003c\/p\u003e \u003cp\u003eDürer’s Letter to Jakob Heller.\u003c\/p\u003e \u003cp\u003eA Letter from block-cutter Jost de Negker to Maximilian I.\u003c\/p\u003e \u003cp\u003eThe Purchase of the Contents of an Antwerp Printer’s Workshop.\u003c\/p\u003e \u003cp\u003eErasmus’s Eulogy on Dürer.\u003c\/p\u003e \u003cp\u003eRobert Peril’s Agreement Regarding the Manufacture of Printed Playing Cards in Antwerp.\u003c\/p\u003e \u003cp\u003eVasari's life of Marcantonio Raimondi.\u003c\/p\u003e \u003cp\u003eTreatises, Histories, Artists and Education.\u003c\/p\u003e \u003cp\u003eLorenzo Ghiberti on the Education Required for Making Sculpture.\u003c\/p\u003e \u003cp\u003eTwo Florentine Views of Art History: (1) Antonio Manetti.\u003c\/p\u003e \u003cp\u003eTwo Florentine Views of Art History: (2) Leonardo da Vinci.\u003c\/p\u003e \u003cp\u003eBooks known or Owned by Leonardo da Vinci.\u003c\/p\u003e \u003cp\u003eCourtiers Discuss the Merits of Painting and Sculpture.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: Locating Renaissance Art.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFlorence and Rome.\u003c\/p\u003e \u003cp\u003eDomenico Veneziano looks for Work in Florence.\u003c\/p\u003e \u003cp\u003eThe Contract for Wall Paintings at the Sistine Chapel.\u003c\/p\u003e \u003cp\u003eThe Valuation of the first four Narratives at the Sistine Chapel.\u003c\/p\u003e \u003cp\u003eBotticelli Pursues Outstanding Payments for his work in the Sistine Chapel.\u003c\/p\u003e \u003cp\u003eFilippino Lippi works for Cardinal Carafa in Rome at Lorenzo de’ Medici’s. Suggestion.\u003c\/p\u003e \u003cp\u003eFilippino Lippi Explains to Filippo Strozzi why he has gone to Rome.\u003c\/p\u003e \u003cp\u003eA dialogue between Florence and Rome against Savonarola.\u003c\/p\u003e \u003cp\u003eThe Duke of Milan’s Agent Reports on Florentine Artists.\u003c\/p\u003e \u003cp\u003eMichelangelo’s Letter to Lorenzo de’ Pierfrancesco de’ Medici from Rome.\u003c\/p\u003e \u003cp\u003eA Cultural Tourist Describes Some of the Sites in Rome.\u003c\/p\u003e \u003cp\u003eNetherlandish Networks.\u003c\/p\u003e \u003cp\u003ePedro Tafur’s Impressions of the Netherlands in the 1430s.\u003c\/p\u003e \u003cp\u003eLluís Dalmau is Contracted to make an Altarpiece for the Councillors’ Chapel in Barcelona.\u003c\/p\u003e \u003cp\u003eCiriaco d’Ancona’s Comments on a Deposition Triptych by Rogier van der Weyden.\u003c\/p\u003e \u003cp\u003eBartlommeo Facio’s Description of the Work of Jan van Eyck and Rogier van der Weyden.\u003c\/p\u003e \u003cp\u003eMarcantonio Michiel Records Netherlandish Paintings in the Homes of Collectors in Venice and Padua in the Early Sixteenth Century.\u003c\/p\u003e \u003cp\u003ePietro Summonte Describes to Marcantonio Michiel Works by Van Eyck and Rogier van der Weyden in Naples.\u003c\/p\u003e \u003cp\u003eTapestries.\u003c\/p\u003e \u003cp\u003eStatutes of the Tapestry-Makers’ Guild in Brussels.\u003c\/p\u003e \u003cp\u003eThe Signoria of Florence Recommends a Weaver from Bruges.\u003c\/p\u003e \u003cp\u003eA Dispute Between the Painters’ Guild and the Tapestry-Makers’ Guild.\u003c\/p\u003e \u003cp\u003eSiena.\u003c\/p\u003e \u003cp\u003eGhiberti’s Admiration for Early Sienese Art.\u003c\/p\u003e \u003cp\u003eThe Commission for the Reconstructed Altar and Altarpiece for the Cappella dei Signori.\u003c\/p\u003e \u003cp\u003eAeneas Silvius Piccolomini and International Politics.\u003c\/p\u003e \u003cp\u003ePius II’s Canonization of Saint Catherine of Siena.\u003c\/p\u003e \u003cp\u003ePius II’s Description of his Cathedral in Pienza and its Interior.\u003c\/p\u003e \u003cp\u003eThe Post-Byzantine Renaissance.\u003c\/p\u003e \u003cp\u003eThe Will of the Painter Angelos Akotantos.\u003c\/p\u003e \u003cp\u003eIoannes Akotantos Sells the Drawings of his Brother, Angelos Akotantos.\u003c\/p\u003e \u003cp\u003eContract to Teach the Art of Painting in the Workshop of Loannes Akotantos.\u003c\/p\u003e \u003cp\u003eContract to Teach the Art of Painting in the Workshop of Andreas Pavias.\u003c\/p\u003e \u003cp\u003eAndreas Pavias Intervenes to Secure the Return of an Icon Painted by Angelos Akotantos.\u003c\/p\u003e \u003cp\u003eThe Commission from the Venetian Ruler of Nauplio, for a Pala A’altare.\u003c\/p\u003e \u003cp\u003eOn the Making of Anthibola (Imprinted Cartoons).\u003c\/p\u003e \u003cp\u003eHow to Plaster a Wall.\u003c\/p\u003e \u003cp\u003eVenice.\u003c\/p\u003e \u003cp\u003eExtract From the Mariegola (rule-book) of the Mercers Company in Venice.\u003c\/p\u003e \u003cp\u003eGentile Bellini Undertakes the Decoration of the Grand Council Chamber.\u003c\/p\u003e \u003cp\u003eGentile Bellini is sent on a Mission to Constantinople.\u003c\/p\u003e \u003cp\u003eGiovanni Bellini is Contracted to Decorate the Grand Council Chamber.\u003c\/p\u003e \u003cp\u003eGiovanni Bellini is Exempted from Duties in the Painters’ Guild.\u003c\/p\u003e \u003cp\u003eAlvise Vivarini’s Petition to Work on the Decoration of the Grand Council Chamber.\u003c\/p\u003e \u003cp\u003eExtract from Marin Sanudo’s Praise of the City of Venice.\u003c\/p\u003e \u003cp\u003eExtract from The Memoirs of Philippe de Commynes.\u003c\/p\u003e \u003cp\u003eExtract from Pietro Casola’s Account of a Pilgrimage to Jerusalem.\u003c\/p\u003e \u003cp\u003eThe Bellini Brothers are Contracted to Work at the Scuola Grande di San Marco.\u003c\/p\u003e \u003cp\u003eGentile Bellini agrees to Continue Work at the Scuola Grande di San Marco.\u003c\/p\u003e \u003cp\u003eGiovanni Bellini is Contracted to Complete his Brother’s Work.\u003c\/p\u003e \u003cp\u003eDürer’s Correspondence on Venice, and on Venetian Art and Artists.\u003c\/p\u003e \u003cp\u003eFrom Francesco Sansovino’s Dialogue on All the Notable Things which are in Venice.\u003c\/p\u003e \u003cp\u003eArchitectural Treatises.\u003c\/p\u003e \u003cp\u003eVitruvius’ Ideas on Architecture.\u003c\/p\u003e \u003cp\u003eAlberti Improves on Vitruvius.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: Viewing Renaissance Art.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eArt, Class and Wealth.\u003c\/p\u003e \u003cp\u003eTreasures in the Ducal Chapel of Charles the Bold, Duke of Burgundy.\u003c\/p\u003e \u003cp\u003eThe Camera Grande of Doctor Bartolo di Tura.\u003c\/p\u003e \u003cp\u003eLuxury goods in the Rooms of Lorenzo the Magnificent.\u003c\/p\u003e \u003cp\u003eViews on Art in Florence.\u003c\/p\u003e \u003cp\u003eThe Florentine Merchant, Giovanni Rucellai, Discusses his Spending.\u003c\/p\u003e \u003cp\u003eA Coppersmith Describes the Festivities in Florence for St John the Baptist.\u003c\/p\u003e \u003cp\u003eFra Girolamo Savonarola warns Florentines against the Dangers of the New type of Painting.\u003c\/p\u003e \u003cp\u003eThe Cloth Merchants’ Guild Commission a New Sculpture for the Florentine Baptistery.\u003c\/p\u003e \u003cp\u003eA Meeting About Where to Place Michelangelo’s David.\u003c\/p\u003e \u003cp\u003eIlluminated Manuscripts.\u003c\/p\u003e \u003cp\u003eThe Manuscripts in the Library of the Duke of Urbino.\u003c\/p\u003e \u003cp\u003eThe Contract between Attavante and a Florentine Merchant for an Illuminated. Manuscript.\u003c\/p\u003e \u003cp\u003eThe Chequered History of the Sforza Hours.\u003c\/p\u003e \u003cp\u003eThe Preface to Sala’s Poetry Book.\u003c\/p\u003e \u003cp\u003eArt and Monarchy in France.\u003c\/p\u003e \u003cp\u003eThe Tomb of Louis XI.\u003c\/p\u003e \u003cp\u003eBourdichon: ‘Painter to the King’.\u003c\/p\u003e \u003cp\u003eJean Robertet’s Poem About the Worst Painter in the World.\u003c\/p\u003e \u003cp\u003eHenri Baude’s ‘Moral Sayings for Making Tapestries’.\u003c\/p\u003e \u003cp\u003eJean Lemaire de Belges.\u003c\/p\u003e \u003cp\u003eJean Perréal de Paris: Painter and Poet.\u003c\/p\u003e \u003cp\u003eMichel Colombe’s Contract for a Tomb Project at Brou.\u003c\/p\u003e \u003cp\u003eThe Travel Journal of Antonio de Beatis.\u003c\/p\u003e \u003cp\u003eThe Market in Icons.\u003c\/p\u003e \u003cp\u003eJohn of Damascus on Images.\u003c\/p\u003e \u003cp\u003eThe Will of Andreas Cornaros.\u003c\/p\u003e \u003cp\u003eThree Cretan Painters are Commissioned to Make 700 Icons of the Virgin.\u003c\/p\u003e \u003cp\u003eContract for Employment of a Painter in the Workshop of Another.\u003c\/p\u003e \u003cp\u003eContract for Employment of a Painter in the Workshop of Another.\u003c\/p\u003e \u003cp\u003eCommission for 10 Triptychs.\u003c\/p\u003e \u003cp\u003eVasari’s Views on the ‘Greek’ Style.\u003c\/p\u003e \u003cp\u003eArt and Death.\u003c\/p\u003e \u003cp\u003eLeonardo Bruni Condemns the Tomb of the Poet Bartolommeo Aragazzi.\u003c\/p\u003e \u003cp\u003eJohn Lydgate’s Version of ‘The Dance of Death’ for the Cloister of St Paul’s. Cathedral, London.\u003c\/p\u003e \u003cp\u003eThe Foundation Statutes of the Chantry at Ewelme.\u003c\/p\u003e \u003cp\u003eThe Will of John Baret of Bury St Edmunds.\u003c\/p\u003e \u003cp\u003eThe Choice of Artist for the Monument to Cardinal Niccolò Forteguerri in Pistoia.\u003c\/p\u003e \u003cp\u003eCardinal Francesco Todeschini Piccolomini Prepares for his Death.\u003c\/p\u003e \u003cp\u003eThe Wills of the ‘Catholic Monarchs’, Isabella and Ferdinand.\u003c\/p\u003e \u003cp\u003eThe Reform of Images.\u003c\/p\u003e \u003cp\u003eAndreas Karlstadt, On the Removal of Images.\u003c\/p\u003e \u003cp\u003eExtract from Hieromymus Emser’s response to Karlstadt.\u003c\/p\u003e \u003cp\u003eUlrich Zwingli’s Criticisms of Religious Images.\u003c\/p\u003e \u003cp\u003eZurich Council Orders the Removal of Images from Churches.\u003c\/p\u003e \u003cp\u003eLuther States his Own Position on Religious Images.\u003c\/p\u003e \u003cp\u003eSir Thomas More Defends the Use of Images.\u003c\/p\u003e \u003cp\u003eWilliam Tyndale Responds to Sir Thomas More.\u003c\/p\u003e \u003cp\u003eIndex.\u003c\/p\u003e  ?The text is well written and informative without being overly technical or employing excessive terminology.? (\u003ci\u003eAssociation of Art Historians\u003c\/i\u003e2009)  \u003cp\u003e?\u003ci\u003eRenaissance Art Reconsidered\u003c\/i\u003e is rich in detail and broad in scope, but its most important accomplishment is its conveyance of individual attitudes on the great value placed on all forms of art. It provides a view of what was expected both throughout the creative process and in the end result. This anthology gives us insight into the needs and problems of the creative process of the artists, patrons, and viewers of the Renaissance.? (\u003ci\u003eSixteenth Century Journal\u003c\/i\u003e, Winter 2008)\u003c\/p\u003e  \u003cb\u003eCarol M. Richardson\u003c\/b\u003e is Lecturer in the History of Art Department at The Open University. She is the author of \u003ci\u003eReclaiming Rome: Cardinals in the Early Renaissance\u003c\/i\u003e (1400–1480) (2007).\u003cbr\u003e \u003cp\u003e\u003cb\u003eKim W. Woods\u003c\/b\u003e is Lecturer in the History of Art Department at The Open University. She is the author of \u003ci\u003eImported Images\u003c\/i\u003e (2007).\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e\u003cb\u003eMichael W. Franklin\u003c\/b\u003e is Course Administrator at The Open University.\u003c\/p\u003e \u003ci\u003eRenaissance Art Reconsidered: An Anthology of Primary Sources\u003c\/i\u003e offers an intimate glimpse into the reality of making art, and the geographical, material and theoretical factors that shaped artistic production between 1400 and 1530. This book widens the traditional Italian focus of Renaissance art history, considering texts from northern Europe and the Mediterranean alongside texts relating to Italian art. Unprecedented in its range, this collection brings together a wide variety of contracts, extracts from treatises, letters, diaries, wills and other important documents, many of which are translated into English for the first time, to provide crucial insight into the art and the context in which it was produced.","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989943009509,"sku":"NP9781405146401","price":115.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781405146401.jpg?v=1761785982","url":"https:\/\/k12savings.com\/es\/products\/renaissance-art-reconsidered-isbn-9781405146401","provider":"K12savings","version":"1.0","type":"link"}