Italian Renaissance Painting:
The Sixteenth Century
Professor David Rosand
|
Additional Bibliography (1) On Portraiture John Pope-Hennessy, The Portrait in the Renaissance (The A.W. Mellon Lectures in the Fine Arts, 1963) (New York: Pantheon Books, 1966): an intelligent and sensitive introduction to the interpretive issues David Rosand, "The Portrait, the Courtier, and Death," in Castiglione: The Ideal and the Real in Renaissance Culture, ed. Robert W. Hanning and David Rosand (New Haven and London: Yale University Press, 1983), pp. 91-129: on the affective dimension of portraiture John Shearman, Only Connect...: Art and the Spectator in the Italian Renaissance (The A.W. Mellon Lectures in the Fine Arts, 1988) (Princeton: Princeton University Press, 1992): chapter III, "Portraits and Poets," on the articulated engagement of the viewer (R) Lorne Campbell, Renaissance Portraits: European Portrait-Painting in the 14th, 15th and 16th Centuries (New Haven and London: Yale University Press, 1990): good illustrations but a rather pedestrian text with particular emphasis on Northern European imagery Christian Iconography Yrjo Hirn, The Sacred Shrine: A Study of the Poetry and Art of the Catholic Church (1909) (Boston: Beacon Press, 1957): an excellent introduction, esp. part II, on the imagery of the Virgin Mary Leo Steinberg, The Sexuality of Christ in Renaissance Art and in Modern Oblivion, rev. ed. (Chicago and London: University of Chicago Press, 1996): one of the most challenging and significant studies in the field--originally delivered as a Lionel Trilling Lecture at Columbia George Ferguson, Signs and Symbols in Christian Art (New York: Oxford University Press, 1961): one of many popularized guides to basic information, not very sophisticated The Altarpiece Jacob Burckhardt The Altarpiece in Renaissance Italy (1898), ed. and trans. by Peter Humfrey (Cambridge: Cambridge University Press, 1988): a richly illustrated edition of a classic study that articulates a full range of issues with clarity Peter Humfrey and Martin Kemp, eds., The Altarpiece in the Renaissance (Cambridge: Cambridge University Press, 1990): a collection of papers on the subject Perspective [Most studies of perspective tend to concentrate on its early empirical development in the 14th century and its mathematical articulation in the 15th. The following offers a sampling of recent titles from a vast bibliography.] Erwin Panofsky, Perspective as Symbolic Form (1927), trans. Christopher S. Wood (New York: Zone Books, 1991): a classic essay that views spatial representation as symbolic of culture Hubert Damisch, The Origin of Perspective (1987), trans. John Goodman (Cambridge, Mass., and London: MIT Press, 1994): an intellectually ambitious structuralist approach, the only study to meet Panofsky on philosophical ground Martin Kemp, The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat (New Haven and London: Yale University Press, 1990): part I ("Lines of Sight") offers an analytic survey of the problems Norris Kelly Smith, Here I Stand: Perspective from Another Point of View (New York: Columbia University Press, 1994): a challenging reading of perspective in terms of an ethical rather than perceptual subjectivity Techniques and Media Eve Borsook, The Mural Painters of Tuscany from Cimabue to Andrea del Sarto, 2nd ed. (Oxford: Oxford University Press, 1980): the tradition of fresco painting to the early 16th century Millard Meiss, The Great Age of Fresco: Discoveries, Recoveries, and Survivals (New York: George Braziller, 1970): an introduction to fresco painting extending to the later 16th century Jill Dunkerton, Susan Foister, Dillian Gordon, Nicholas Penny, Giotto to Durer: Early Renaissance Painting in The National Gallery (New Haven and London: Yale University Press, 1991): although focusing on 15th-century paintings, chapter 5 ("Techniques") provides a useful introduction to supports and media Jill Dunkerton, Susan Foister, Nicholas Penny, Durer to Veronese: Sixteenth-Century Painting in The National Gallery (New Haven and London: Yale University Press, 1999): further useful observations on the art that concerns us (NB: The Technical Bulletin of the National Gallery (London) publishes detailed studies of individual paintings that have been examined and treated; those reports afford an excellent introduction to the technical structure of paintings on panel and canvas) Marcia B. Hall,
Color and Meaning: Practice and Theory in Renaissance Painting
(Cambridge: Cambridge University Press, 1992): less precisely focused
on practice than its title promises, this is a general introduction,
based upon individual cases, with good illustrations and useful glossary
|