Palazzo di Medici-Riccardi / Creative Commons The state was merely a product of these guilds with institutions designed to function only in the way these guilds desired. By Milad D. Mohammadi / 08.26.2018 New York University The Renaissance, being a time of great cultural and political change, was a time of significant economic development, particularly in[…]
Portrait by Jacopo Pontormo; the laurel branch (il Broncone) was a symbol used also by his heirs / Uffizi Gallery, Wikimedia Commons Cosimo needed to present himself as a benevolent figure because it was the only way to expiate his guilt. By Salvatore Coppola[1] / 12.12.2013 Unversidad de Costa Rica In determining whether or not Cosimo de’Medici[…]
Danaë, 1530, Correggio (Antonio Allegri). Oil on canvas; 74 3/16 × 86 13/16 × 4 1/2 in. Galleria Borghese, Ministero dei Beni e delle attività culturali e del Turismo The exhibition and book The Renaissance Nude explore the complex power dynamics of images of the female body in the Renaissance. By Dr. Jill Burke / 10.25.2018 Senior[…]
Madonna and Child Surrounded by Angels (detail), 1454–56, Jean Fouquet. Oil on panel, 36 1/4 x 32 7/8 in. Courtesy of Koninklijk Museum voor Schone Kunsten Antwerpen. Image © www.lukasweb.be–Art in Flanders vzw, photo Dominique Provost A new exhibition and book explore the complexity of the nude in Renaissance art and the controversies it provoked, revealing[…]
Detail of A carole: shawms and bagpipes played from the gallery to accompany dancers, including Courtesy and the Lover from Romance of the Rose by Guillaume de Lorris and Jean de Meung, ca. 1460–70. Oxford, Bodleian Library, Ms. Douce 364, fol. 8 A closer look at the music of the Renaissance courtly experience. By Dr.[…]
Same-sex unions are an integral part of the long, complex and hotly contested history of marriage. Interview of Dr. Gary Ferguson by Dr. Katherine Harvey / 01.19.2017 Ferguson: Douglas Huntly Gordon Distinguished Professor, University of Virginia Harvey: Wellcome Trust Research Fellow, Birkbeck, University of London In Same-Sex Marriage in Renaissance Rome: Sexuality, Identity, and[…]
Exploring the ways in which the law was used to control sex in late medieval and Tudor England. Interview of Dr. Martin Ingram by Dr. Katherine Harvey / 02.14.2018 Ingram: Emeritus Fellow in History, Brasenose College, University of Oxford Harvey: Wellcome Trust Research Fellow, Birkbeck, University of London Martin Ingram’s book Carnal Knowledge: Regulating Sex[…]
The Scholar with His Student, Anonymous Flemish painter (circle of Gerard Thomas and Balthasar van den Bossche) / Wikimedia Commons The Enlightenment advocated reason as a means to establishing an authoritative system of aesthetics, ethics, government, and even religion, which would allow human beings to obtain objective truth about the whole of reality. Edited by[…]
A Tournament Contest from Tournament Book, about 1560–70, unknown illuminator, made in Germany. The J. Paul Getty Museum, Ms. Ludwig XV 14, fols. 27v–28 Manuscripts, stained glass, garments, tapestries, and other precious objects provide a window into the spectacles and social rules that governed life in European courts. By Dr. Larisa Grollemond / 08.27.2018 Assistant[…]
It revolutionized the art of portrait-making. By Afzal Ibrahim / 07.22.2018 Introduction A question often asked – Why Is Mona Lisa Painting Famous? At first glance, Leonardo da Vinci’s Mona Lisa appears to be just another portrait of a woman. The work, painted sometime between 1503 and 1519, features a brown-eyed woman with dark hair,[…]
Santa Maria Novella (Leon Battista Alberti was responsible for the façade, completed in 1470) By Dr. Sally Hickson / 08.09.2015 Associate Professor of Art History University of Guelph A treasure house of Renaissance art The Church of Santa Maria Novella, adjacent to the train station of the same name, is a treasure-house of Florentine art of[…]
Leon Battista Alberti, Basilica of Sant’Andrea, 1472-90, Mantua (Italy) (photo: Steven Zucker, CC: BY-NC-SA 3.0) By Dr. Heather H. Horton / 08.09.2015 Visiting Assistant Professor in the History of Art and Design Pratt Institute Mantua’s relic In the Fifteenth Century, pilgrims flocked to the Basilica of Sant’Andrea to venerate the most famous relic in the[…]
Luca Signorelli, The Damned Cast into Hell, 1499-1504, fresco, 23′ wide (San Brizio chapel, Orvieto Cathedral, Orvieto, Italy) By Dr. Shannon Pritchard / 08.09.2015 Assistant Professor of Art History University of Southern Indiana Imagine being confronted by this scene—men and women screaming, their nude bodies contorted in pain as they are tortured by garishly colored demons. Naked men[…]
Giotto’s Last Judgment in the Scrovegni Chapel in Padua, inspired by Dante Alighieri’s vision of heaven and hell. Wikimedia The gates to hell in Dante Alighieri’s Divine Comedy tell us to “abandon all hope, yet who enter here”. Despite its unfunny premise, ‘La Commedia’ ends well, with its protagonist Dante reaching heaven. By Dr. Frances Di Lauro / 10.01.2017 Senior Lecturer Chair, The Department[…]
Technicians attend a rehearsal of the show Universal Judgment: Michelangelo and the Secrets of the Sistine Chapel, directed by Marco Balich, on March 13 near the Vatican. The Vatican Museums, which house the Sistine Chapel, provided high-definition digital reproductions of the frescoes in the hall at a reduced rate because they acknowledged the educational value of[…]
Piero della Francesca, Flagellation of Christ, c. 1455-65, oil and tempera on wood, 58.4 × 81.5 cm (Galleria Nazionale delle Marche, Urbino, Italy) By Christine Zappella / 08.09.2015 PhD Student in Medieval and Early Modern Art University of Chicago Flagellation of Christ The subject of the Flagellation Piero della Francesca’s Flagellation of Christ is proof that, sometimes, good things really do[…]
The Globe Theatre, Panorama Innenraum, London / Photo by Maschinenjunge, Wikimedia Commons By Dr. Kevin Seiffert and Dr. Rosemary Sutton Seiffert: Professor, Department of Educational Administration, Foundations, & Psychology, University of Manitoba Sutton: Vice President for Student Learning and Success, Cascadia College, Bothell English Renaissance theatre, also known as early modern English theatre, or (commonly) as Elizabethan theatre, refers[…]
William Holman Hunt, The flight of Madeline and Porphyro during the drunkenness attending the revelry (The Eve of St. Agnes), smaller version of the painting exhibited at the Royal Academy, begun as a sketch, 1847-57, oil on panel, 355 x 252 cm (Walker Art Gallery, Liverpool) By Dr. Rebecca Jeffrey Easby / 08.09.2015 Associate Professor of[…]
Albrecht Dürer and others, The Triumphal Arch, c. 1515, woodcut printed from 192 individual blocks, 357 x 295 cm, Germany © Trustees of the British Museum. By Dr. Sally Hickson, Dr. Bonnie J. Noble, and The British Museum / 02.28.2017 Hickson: SOFAM Director, Associate Professor of Art History, University of Guelph Noble: Associate Professor[…]
The Ascension of Christ from the Laudario of Sant’Agnese, about 1340, Pacino di Bonaguida. Tempera and gold on parchment, 17 1/2 x 12 1/2 in. (44.4 x 31.8 cm). The J. Paul Getty Museum, Ms. 80a, verso By Dr. Christine Sciacca / 09.14.2012 Associate Curator The Walters Art Museum In the early 1300s, 150 years before[…]
The Apollo Belvedere, 1726–32, Edme Bouchardon. Red chalk, 22 1/2 x 16 7/8 in. Paris, Musée du Louvre, Département des Arts graphiques, INV. 23999. © Musée du Louvre, dist. RMN – Grand Palais / Laurent Chastel Beginning in the Renaissance, painters and sculptors learned their craft by sketching from the sculpture of the past. By[…]
By Dr. Stephen Zucker and Dr. Beth Harris Zucker – Dean of Art and History, Khan Academy Harris – Faculty Emeritus of Art History, Khan Academy About Leonardo The heavens often rain down the richest gifts on human beings, but sometimes they bestow with lavish abundance upon a single individual beauty, grace and ability, so that[…]
Saint Mark’s Square and the Doge’s Palace seen from the water, Venice (Italy) (photo: Steven Zucker, CC BY-NC-SA 2.0) By Dr. Heather H. Horton / 08.09.2015 Visiting Assistant Professor in the History of Art and Design Pratt Institute Venice – Another world Petrarch, the fourteenth-century Tuscan poet, called Venice a “mundus alter” or “another world,” and the city[…]
Marco del Buono Giamberti and Apollonio di Giovanni di Tomaso, Cassone with the Conquest of Trebizond, 1460s, tempera, gold and silver on wood, 9 1/2 x 77 x 32 7/8 inches / 100.3 x 195.6 x 83.5 cm (The Metropolitan Museum of Art) By Elaine Hoysted / 11.22.2015 PhD Candidate in Art History University of Cork All[…]
What explains an architectural sketch lying underneath the surface of an Andrea del Sarto panel? By Julian Brooks / 09.03.2015 Senior Curator of Drawings J. Paul Getty Museum It’s amazing what you find when you’re not looking for it. As part of the research for the exhibition Andrea del Sarto: The Renaissance Workshop in Action, I[…]
Woodcut in Divina proportione, 1509, Luca Pacioli. The Getty Research Institute, 84-B9582. See full digitized book A look at the art and science of Europe’s early printed books, with examples from the Getty Research Institute’s special collections. By Sarah Sherman / 09.23.2015 Reference Librarian Getty Research Institute In the 15th century, a new form of mass communication dramatically[…]
Bathsheba Bathing (detail), leaf from the Hours of Louis XII, 1498–99, Jean Bourdichon. Tempera colors and gold on parchment, 9 9/16 x 6 11/16 in. The J. Paul Getty Museum, Ms. 79, recto A tour through sumptuous Renaissance gardens depicted in illuminated manuscripts. By Dr. Bryan C. Keene / 08.09.2013 Adjunct Professor of Art History Pepperdine University Gardens[…]
Ottavio Leoni, Portrait of Galileo, 1624, engraving and etching (Fitzwilliam Museum) By Dr. Joseph Daubin / 08.09.2015 Distinguished University Professor of History The Graduate Center City University of New York The Life of Galileo Renaissance artists—painters, sculptors and architects—had been observing nature with a special interest in depicting it faithfully and realistically from the early 15th century on.[…]
Initial G: The Assumption of the Virgin, about 1392–1402, Niccolò da Bologna, from the Gradual of Niccolò di Lazzara for Santo Spirito in Farneta (Lucca). Tempera colors and gold leaf on parchment, 14 x 12 in. The J. Paul Getty Museum, Ms. 115 (2017.122.5), leaf 5. Gift of Elizabeth J. Ferrell Leaves by the Bolognese artist,[…]
Domenico di Michelino, Dante holding the Divine Comedy, 1465 (Santa Maria del Fiore, Florence) By Matthew Collins / 12.30.2015 PhD Candidate in the Italian Language Harvard University When you think of Hell, what images fill your imagination? Your mind might first conjure up a monstrous satanic figure, and then you may further fill in the picture[…]