Maarten Van Heemskerck S Rome

The first comprehensive analysis of the artist’s Roman ruin drawings. Three parts take us from Van Heemskerck’s training to his Roman stay and his post-Roman phase. A catalog presents Van Heemskerck’s drawings in up-to-date digital photographs.

This book presents the first sustained study of the stunning drawings of Roman ruins by Haarlem artist Maarten van Heemskerck (1498-1574; in Rome, 1532-ca. 1537). In three parts, Arthur J. DiFuria describes Van Heemskerck's pre-Roman training, his time in Rome, and his use his ruinscapes for the art he made during his forty-year post-Roman phase. Building on the methods of his predecessors, Van Heemskerck mastered a dazzling array of methods to portray Rome in compelling fashion. Upon his return home, his Roman drawings sustained him for the duration of his prolific career. Maarten van Heemskerck's Rome concludes with the first ever catalog to bring together all of Van Heemskerck's ruin drawings in state-of-the-art digital photography. -- ‡c From publisher's description.

A journey through the Eternal City through virtuoso drawings. In 1532, the Dutch painter Maarten van Heemskerck (1498-1574) traveled from Haarlem to Rome. Pencil in hand, he discovered antiquity and the Renaissance. His remarkable drawings take us on a journey through time in sixteenth-century Rome. Van Heemskerck was everywhere, from the Colosseum to the Forum Romanum to the Piazza del Campidoglio. He was one of the first artists from north of the Alps to embark on a trip to Rome purely for the sake of art. His sketches reveal his admiration for the buildings and artworks of antiquity and the contemporary art of Raphael and Michelangelo. This magnificent volume invites the reader to discover van Heemkerck's drawing technique, Roman topography, and the social network of the sixteenth century as well as the fascinating story of the restoration of his Roman sketchbook.

Frans Floris de Vriendt was among the most celebrated Netherlandish artists of the sixteenth-century, more renowned in his day than Bruegel the Elder. This book relates Floris’s hybridizing art to the social, religious, and political crises reshaping his society.

Ryan E. Gregg relates how the Holy Roman Emperor Charles V and Duke Cosimo I of Tuscany both employed city view artists such as Anton van den Wyngaerde and Giovanni Stradano to aid in constructing authority.

Eighteenth-century Rome offers a privileged view of art market activities, given the continuity of remarkable investments by the local ruling class, combined with the decisive impact of external agents, largely linked to the Grand Tour. This book, the result of collaboration between international specialists, brings back into the spotlight protagonists, facts and dynamics that have remained unexplored for many years.

This volume examines how and why many early modern pictures operate in an ekphrastic mode.