Italian Painting

This volume presents Italian painting through specific themes, as well as by chronological and regional achievement. With approximately 300 colourplates, this large-format book contains devotional images, portraits, landscapes, allegorical paintings, genre scenes, still life arranements, and abstract compositions. Keith Christiansen is Curator of European Paintings at the Metropolitan Museum of Art in New York. His introduction and twenty eight essays set out in history of Italian Painting and its lasting impact. His thoughtful presentation not only instructs but also delights the reader with anecdotal details and innovative visual connections. -- http://www.ebay.com.

Tre storici dell'arte, con un linguaggio accessibile anche al grande pubblico, ricompongono, ciascuno per i temi di cui è specialista, il grande affresco dell'arte italiana: dall'epoca medioevale fino ai nostri giorni, dalle miniature romantiche alle performances più recenti di nomi ormai noti anche oltreoceano, come Cattelan. L'arte italiana è illustrata attraverso le vite degli artisti e dei loro capolavori.

"A history of Italian painting" by Frank Jewett Mather. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

The rebirth of realistic representation in Italy around 1300 led to the materialization of a pictorial language, which dominated Western art until 1900, and it dominates global visual culture even today. Paralleling the development of mimesis, self-reflexive pictorial tendencies emerged as well. Images-within-images, visual commentaries of representations by representations, were essential to this trend. They facilitated the development of a critical pictorial attitude towards representation. This book offers the first comprehensive study of Italian meta-painting in the age of Giotto and sheds new light on the early modern and modern history of the phenomenon. By combining visual hermeneutics and iconography, it traces reflexivity in Italian mural and panel painting at the dawn of the Renaissance, and presents novel interpretations of several key works of Giotto di Bondone and the Lorenzetti brothers. The potential influence of the contemporary religious and social context on the program design is also examined situating the visual innovations within a broader historical horizon. The analysis of pictorial illusionism and reality effect together with the liturgical, narrative and typological role of images-within-images makes this work a pioneering contribution to visual studies and premodern Italian culture.

This Lanzi's work features the history of painting in Italy from the period of the revival of the fine arts to the end of the 18th century. The method that the author applies in treating of each school is as follows: he first gives a general character of each school; then he distinguishes it into three, four, or more epochs, according as its style underwent changes with the change of taste. A few celebrated painters, who have swayed the public taste, and given a new tone to the art, are placed at the head of each epoch. He has also taken notice of some arts which are analogous to painting, and though they differ from it in the materials employed, or the manner of using them, may still be included in the art; for example, engraving of prints, inlaid and mosaic work, and embroidering tapestry. The author commences by treating in the two first volumes of that part of Italy, which, through the genius of Da Vinci, Michelangelo, and Rafael, became first conspicuous, and first exhibited a decided character in painting. Those artists were the ornaments of the Florentine and Roman schools, from which he proceeds to two others, the Sienese and Neapolitan. About the same time Giorgione, Tiziano and Correggio, began to flourish in Italy; three artists, who as much advanced the art of coloring, as the former improved design; and of these luminaries of Upper Italy are treated in the third and fourth volumes. Then follows the school of Bologna, in which the attempt was made to unite the excellences of all the other schools: this commences the fifth volume; and on account of proximity it is succeeded by that of Ferrara, and Upper and Lower Romagna. The school of Genoa, which was late in acquiring celebrity, succeeds, and the book is concluded with that of Piedmont, which, though it cannot boast so long a succession of artists as those of the other states, has merits sufficient to entitle it to a place in a history of painting.

Here are presented two essays by one of the pioneers in the modern exploration of 16th century Italian art. The first, on the Kunstwissenschaft, v.XLVII; the second, on the style translated and published in a 1957 edition, of which this is a reprint (with inclusion of a 1964 foreword).