ИСКУССТВО ЭПОХИ ВОЗРОЖДЕНИЯ:
ОСНОВНАЯ ЛИТЕРАТУРА
1. Вазари Дж. Жизнеописания наиболее знаменитых живописцев, ваятелей и зодчих
2. Мандер, Карел ван. Книга о художниках. / Пер. с гол. В. М. Минорского. - СПб.: Азбука-классика, 2007. - 608 с.
3. Бенеш О. Искусство Северного Возрождения. М., 1973
4. Буркхардт Я. Культура Возрождения в Италии. М., 1996 (и др. изд.)
5. Виппер Б.Р. Итальянский ренессанс XIII—XVI вв. — В 2-х тт. — М.: «Искусство», 1977. 468 с.
6. Дворжак М. История итальянского искусства в эпоху Возрождения. Т. 1-2. М., 1978
7. Лазарев В. Н. Происхождение итальянского Возрождения. Т. 1-3. М., 1956—1979
8. Лазарев В. Н. Старые итальянские мастера. М., 1972
9. Муратов П. П. Образы Италии. Т. 1-3. М., 1993—1994
10. Никулин Н. Н. Золотой век Нидерландской живописи. XV век. М., 1982.
11. Степанов А.В. Искусство эпохи Возрождения. Италия. XIV-XV века.
12. Степанов А.В. Искусство эпохи Возрождения. Италия. XVI век
13. Степанов А.В. Искусство эпохи Возрождения. Нидерланды, Германия, Франция, Испания, Англия
14. Campbell, Stephen J., and Michael Cole. Italian Renaissance Art. New York: Thames & Hudson Inc., 2012.
15. Hartt, Frederick, and David G. Wilkins. History of Italian Renaissance Art: Painting, Sculpture, Architecture. 7th ed. Upper Saddle River, New Jersey: Prentice Hall, 2011.
16. Paoletti, John T., and Gary M. Radke. Art in Renaissance Italy. 4th ed. London: Lawrence King, 1997.
17. Welch, Evelyn S. Art and Society in Italy, 1350–1500. Oxford and New York: Oxford University Press, 1997.
18. White, John. Art and Architecture in Italy, 1250–1400. 3rd ed. Yale University Press Pelican History of Art Series. New Haven: Yale University Press, 1993.
19. СЮЖЕТЫ И СИМВОЛЫ В ИСКУССТВЕ:
ХОЛЛ ДЖ. СЛОВАРЬ СЮЖЕТОВ И СИМВОЛОВ В ИСКУССТВЕ. М., 1996.
PRELIMINARY BIBLIOGRAPHY FOR THE STUDY OF ITALIAN RENAISSANCE ART AND ARCHITECTURE (USEFUL TEXTS IN ENGLISH)
PRIMARY SOURCES AVAILABLE IN TRANSLATION
20. Alberti, Leon Battista. On Painting. Trans. and ed. Rocco Sinisgalli. New York: Cambridge University Press, 2010 (written in 1435; first published in 1540). Bruni, Leonardo. The Humanism of Leonardo Bruni: Selected Texts. Trans. Gordon Griffiths, James Hankins and David Thompson. Medieval and Renaissance
21. Texts and Studies, 46; Renaissance Text Studies, 10. Binghamton, New York: Center for Medieval and Renaissance Studies, State University of New York and
22. the Renaissance Society of America, 1987.
23. Castiglione, Baldassare. The Book of the Courtier. Trans. George Bull. Reprint. London and New York: Penguin Books, 1976 (manuscript begun ca. 1508; published in 1528. First English edition published in 1561.)
24. Cellini, Benvenuto. The Autobiography of Benvenuto Cellini. Ed. Charles Hope and Alessandro Nova from the trans. by John Addington Symonds. Oxford: Phaidon, 1983 (Cellini’s Vita was written 1558–ca. 1563).
25. Cennini, Cennino. A Treatise on Painting. Trans. Mrs. Mary P. Merrifield. London: Edward Lumley, 1844 (written ca. 1390; first published in 1821).
26. Hollanda, Franciso de. On Antique Painting. Trans. Alice Sedgwick. University Park: Pennsylvania State University Press, 2013 (originally published in Lisbon, 1548).
27. Holroyd, Charles, ed. Michael Angelo Buonarroti. London and New York: Duckworth and C. Scribner’s Sons, 1903 (contains translation of Ascanio Condivi’s Vita di Michelangelo Buonarroti originally published in 1553).
28. Leonardo da Vinci. Treatise on Painting. Trans. and annotated by A. Philip McMahon. 2 vols. Princeton: Princeton University Press, 1956 (compiled by his pupil Francesco Melzi ca. 1540; first published in 1651).
29. Machiavelli, Niccolò. The Prince. Trans. N.H. Thompson. Reprint. New York: Dover Publications, 1992 (written before 1513; published in 1532).
30. Merrifield, Mrs. Mary P. Medieval and Renaissance Treatises on the Arts of Painting: Original Texts with English Translations. Reprint. New York: Dover Publications, 2010 (original translation published in 1849).
31. Nadal, Jerome. The Illustrated Spiritual Exercises. Reprint. Scranton: University of Scranton Press, 2001 (originally published in 1593).
32. Paleotti, Gabriele. Discourse on Sacred and Profane Images. Trans. William McCuaig, with an introduction by Paolo Prodi. Los Angeles: Getty Research Institute, 2012 (originally published in 1582).
33. Pico della Mirandola, Giovanni. Oration on the Dignity of Man. Trans. A. Robert Gaponigri. Reprint. Washington, D.C.: Gateway Editions, 1996 (composed in 1486).
34. Richardson, Carol M., Kim Woods and Michael. W. Franklin, eds. Renaissance Art Reconsidered: An Anthology of Primary Sources. Malden, Massachusetts: Blackwell Publishing, 2007.
35. Roskill, March W. Dolce’s Aretino and Venetian Art Theory of the Cinquecento. New York: New York University Press for the College Art Association of America, 1968 (includes text and translation of Ludovico Dolce’s Dialogo della pittura intitolato l'Aretino, 1557).
36. Vasari, Giorgio. The Lives of the Artists. Trans. Julia Conway Bondanella and Peter Bondanella. Reissue. Oxford: Oxford University Press, 2008 (first edition published in 1550; second edition appeared in 1568).
37. Vecellio, Cesare. The Clothing of the Renaissance World: Europe, Asia, Africa, the Americas. Trans. Margaret F. Rosenthal and Ann Rosalind Jones. London and New York: Thames & Hudson, 2008 (first published in 1590; second edition, with section on the New World, appeared in 1598).
BACKGROUND
38. Ackerman, James S. Distance Points: Essays in Theory and Renaissance Art and Architecture. Cambridge, Massachusetts: MIT Press, 1991.
39. Ackerman, James S. “Imitation.” In Antiquity and its Interpreters, eds. Alina Payne, Anne Kuttner and Rebekah Smick, 9–16. Cambridge and New York: Cambridge University Press, 2000.
40. Ames‐Lewis, Francis. The Intellectual Life of the Early Renaissance Artist. New Haven: Yale University Press, 2000.
41. Bamji, Alexandra, Geert H. Janssen, and Mary Laven, eds. The Ashgate Research Companion to the Counter‐Reformation. Aldershot, England, and Burlington, Vermont: Ashgate Publishing Limited, 2013.
42. Barkan, Leonard. Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture. New Haven: Yale University Press, 1999.
43. Bartlett, Kenneth R., ed. The Civilization of the Italian Renaissance. 2nd ed. North York, Ontario, and Tonawanda, New York: University of Toronto Press, 2011. Bayer, Andrea, ed. Art and Love in Renaissance Italy. Exh. cat. New York: Yale University Press and New Haven: Yale University Press, 2008.
44. Biow, Douglas. On the Importance of Being an Individual in Renaissance Italy: Men, Their Professions, and Their Beards. Philadelphia: University of Pennsylvania Press, 2015.
45. Burckhardt, Jacob. The Altarpiece in Renaissance Italy. Ed. and trans. Peter Humfrey. Cambridge and New York: Cambridge University Press, 1988. Burckhardt, Jacob. The Civilisation of the Renaissance in Italy: An Essay. Trans. S.G.C. Middlemore; intr. Anthony Grafton. London: Folio Society, 2004. Campbell, C. Jean. The Commonwealth of Nature: Art and Poetic Community in the Age of Dante. University Park: Pennsylvania State University Press, 2008.
46. Campbell, Stephen J., and Stephen J. Milner, eds. Artistic Exchange and Cultural Translation in the Italian Renaissance City. New York: Cambridge University Press, 2004.
47. Cast, David. The Delight of Art: Giorgio Vasari and the Traditions of Humanist Discourse. University Park: Pennsylvania State University Press, 2009. Christiansen, Keith, and Stefan Weppelmann, eds. The Renaissance Portrait: From Donatello to Bellini. Exh. cat. New York: Yale University Press and New
48. Haven: Yale University Press, 2011.
49. Clark, Kenneth. The Art of Humanism. New York: Harper & Row, 1983.
50. Cole, Bruce. Italian Art, 1250–1550: The Relation of Renaissance Art to Life and Society. New York: Harper & Row, 1987.
51. Decker, John R., and Mitzi Kirkland‐Ives, eds. Death, Torture and the Broken Body in European Art, 1300–1650. Burlington, Vermont: Ashgate, 2015.
52. Edgerton, Samuel, Jr. The Heritage of Giotto’s Geometry: Art and Science on the Eve of the Scientific Revolution. Ithaca and London: Cornell University Press, 1991.
53. Field, J.V. The Invention of Infinity: Mathematics and Art in the Renaissance. Oxford: Oxford University Press, 1997.
54. Freedberg, David. The Power of Images: Studies in the History and Theory of Response. Chicago: University of Chicago Press, 1989. Gahtan, Maria Wellington. Giorgio Vasari and the Birth of the Museum. Farnham, Surrey: Ashgate Publishing Company, 2014.
55. Gill, Meredith Jane. Augustine in the Renaissance: Art and Philosophy from Petrarch to Michelangelo. New York: Cambridge University Press, 2005.
56. Grafton, Anthony. Rome Reborn: The Vatican Library and Renaissance Culture. Exh. cat. Washington, D.C: Library of Congress, 1993.
57. Grafton, Anthony. “Panofsky, Alberti, and the Ancient World.” In Meaning in the Visual Arts: Views from the Outside. A Centennial Commemoration of Erwin Panofsky (1892–1968), ed. Irving Lavin, 123–30. Princeton: Institute for Advanced Study, 1995.
58. Hale, J.R., ed. The Thames and Hudson Dictionary of the Italian Renaissance. London: Thames & Hudson, 1985. Hale, J.R. Artists and Warfare in the Renaissance. New Haven: Yale University Press, 1990.
59. Kemp, Martin. The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat. New Haven and London: Yale University Press, 1990.
60. Kennedy, Trinita, ed. Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy. Nashville: Frist Curator for the Visual Arts, 2014. Kim, David Young. The Traveling Artist in the Italian Renaissance: Geography, Mobility, Style. New Haven: Yale University Press, 2014.
61. Kraye, Jill. The Cambridge Companion to Renaissance Humanism. Cambridge and New York: Cambridge University Press, 1996. Kristeller, Paul O. Renaissance Thought and the Arts: Collected Essays. Rev. ed. Princeton: Princeton University Press, 1990.
62. Land, Norman E. The Viewer as Poet: The Renaissance Response to Art. University Park: Pennsylvania State University Press, 1994.
63. Levy, Allison, ed. Sex Acts in Early Modern Italy: Practice, Performance, Perversion, Punishment. Farnham and Burlington, Vermont: Ashgate Publishing Company, 2010.
64. Long, Pamela O. Openness, Secrecy, Authorship: Technical Arts and the Culture of Knowledge from Antiquity to the Renaissance. Baltimore: Johns Hopkins University Press, 2001.
65. Long, Pamela O. Artisan/Practitioners and the Rise of the New Sciences, 1400‒1600. Corvallis, Oregon: Oregon State University Press, 2011. Lymberopoulou, Angeliki, and Rembrandt Duits, eds. Byzantine Art and Renaissance Europe. Burlington, Vermont: Ashgate Publishing Limited, 2013. Markey, Lia. Imagining the Americas in Medici Florence. University Park: Pennsylvania State University Press, 2016.
66. Martines, Lauro. Power and Imagination: City‐States in Renaissance Italy. Baltimore: Johns Hopkins University Press, 1966.
67. Musacchio, Jacqueline Marie. The Art and Ritual of Childbirth in Renaissance Italy. New Haven: Yale University Press, 1999. Nagel, Alexander, and Christopher S. Wood. Anachronic Renaissance. New York: Zone Books, 2010.
68. Padgett, John F., and Christopher K. Ansell. “Robust Action and the Rise of the Medici, 1400–1434.” American Journal of Sociology 98, 6 (1993): 1259–1319. Panofsky, Erwin. Renaissance and Renascences in Western Art. Stockholm: Almqvist & Wiksell, 1960.
69. Plumb, J.H. The Italian Renaissance: A Concise Survey of Its History and Culture. New York: Harper Torchbacks, 1961. (An excellent summary is available online: http://faculty.webster.edu/corbetre/personal/reading/plumb‐renaissance.html)
70. Quinlan‐McGrath, Mary. Influences: Art, Optics and Astrology in the Italian Renaissance. Chicago and London: University of Chicago Press, 2013. Rabil, Albert, ed. Renaissance Humanism: Foundations, Forms, and Legacy. 3 vols. Philadelphia: University of Pennsylvania Press, 1988.
71. Rosenthal, Margaret F. The Honest Courtesan: Veronica Franco, Citizen and Writer in Sixteenth‐Century Venice. Chicago: University of Chicago Press, 1992.
72. Rowland, Ingrid D. The Culture of the High Renaissance: Ancients and Moderns in Sixteenth‐Century Rome. Cambridge and New York: Cambridge University Press, 1998.
73. Rubin, Patricia Lee. Giorgio Vasari: Art and History. New Haven: Yale University Press, 1995.
74. Seidel, Linda. Pious Journeys: Christian Devotional Art and Practice in the Later Middle Ages and Renaissance. Exh. cat. Chicago: David and Alfred Smart Museum of Art, University of Chicago, 2000.
75. Shirley, John W., and F. David Hoeniger, eds. Science and the Arts in the Renaissance. Folger Institute Symposia. London and Toronto: Associated University Presses, 1985.
76. Spiller, Elizabeth A. Science, Reading, and Renaissance Literature: The Art of Making Knowledge, 1580–1670. Cambridge Studies in Renaissance Literature and Culture. Cambridge and New York: Cambridge University Press, 2004.
77. Stanivukovic, Goran V., ed. Ovid and the Renaissance Body. Toronto: University of Toronto Press, 2001.
78. Steinberg, Leo. The Sexuality of Christ in Renaissance Art and In Modern Oblivion. 2nd ed. Chicago: University of Chicago Press, 1996.
79. Summers, David. The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics. Cambridge and New York: Cambridge University Press, 1987. Symonds, John Addington. Renaissance in Italy. 2 vols. New York: The Modern Library, 1935.
80. Viladesau, Richard R. The Triumph of the Cross: The Passion of Christ in Theology and the Arts. From the Renaissance to the Counter‐Reformation. New York: Oxford University Press, 2008.
81. Warburg, Aby. The Renewal of Pagan Antiquity: Contributions to the Cultural History of the European Renaissance. Trans. David Britt, ed. Kurt W. Forster. Los Angeles: Getty Publications, 1999.
82. Weinstein, Donald. “Explaining God’s Acts to His People: Savonarola’s Spiritual Legacy to the Sixteenth Century.” In Humanity and Divinity in Renaissance and Reformation: Essays in Honor of Charles Trinkaus, eds. John W. O’Malley, Thomas M. Izbicki, and Gerald Christianson, 205–26. Leiden and New York: E.J. Brill, 1993.
83. White, John. The Birth and Rebirth of Pictorial Space. London: Faber and Faber, 1957 (second edition 1987). Wind, Edgar. Pagan Mysteries in the Renaissance. London: Faber and Faber, 1958 (second edition 1968). Wittkower, Margot, and Rudolf Wittkower. Born Under Saturn. Reprint. New York: New York Review Book, 2007.
84. Wohl, Hellmut. The Aesthetics of Italian Renaissance Art: A Reconsideration of Style. New York: Cambridge University Press, 1999.
85. Wölfflin, Heinrich. Classic Art: An Introduction to the Italian Renaissance. London: Phaidon, 1952.
86. Wright, Rosemary Muir. Sacred Distance: Representing the Virgin. Manchester, United Kingdom, and New York: Manchester University Press, 2006.
REGIONAL AND THEMATIC STUDIES
87. Brown, Patricia Fortini. The Renaissance in Venice: A World Apart. London: G. Weidenfeld & Nicolson, 1997.
88. Brown, Patricia Fortini. Private Lives: Art, Architecture, and the Family in Renaissance Venice. New Haven: Yale University Press, 2004. Campbell, C. Jean. The Game of Courting and the Art of the Commune of San Gimignano. Princeton: Princeton University Press, 1997.
89. Chambers, David, and Brian Pullan, eds. Venice: A Documentary History, 1450–1630. Toronto and Buffalo: Published by University of Toronto Press in association with the Renaissance Society of America, 2001.
90. Cheles, Luciano. The Studiolo of Urbino: An Iconographic Investigation. University Park: Pennsylvania State University Press, 1986. Cranston, Jodi. The Poetics of Portraiture in the Italian Renaissance. New York: Cambridge University Press, 2000.
91. Christiansen, Keith, Laurence B. Kanter and Carl Brandon Strehlke. Painting in Renaissance Siena, 1420–1500. Exh. cat. New York: Metropolitan Museum of Art, 1988.
92. Ciapelli, Giovanni, and Patricia Rubin, eds. Art, Family and Memory in Renaissance Florence. New York: Cambridge University Press, 1999. Cole, Alison. Virtue and Magnificence: Art of the Italian Renaissance Courts. Perspectives Series. New York: Harry N. Abrams, 1995.
93. De Jong, Jan L. The Power and the Glorification: Papal Pretensions and the Art of Propaganda in the Fifteenth and Sixteenth Centuries. University Park: Pennsylvania State University Press, 2013.
94. Folin, Marco, ed. Courts and Courtly Arts in Renaissance Italy: Art, Culture and Politics, 1395–1530. Woodbridge, Suffolk: Antique Collectors Club, 2011. Franklin, David. Painting in Renaissance Florence. New Haven: Yale University Press, 2001.
95. Franklin, David, ed. Leonardo da Vinci, Michelangelo and the Renaissance in Florence. Exh. cat. Ottawa: National Gallery of Canada in association with Yale University Press, 2005.
96. Franklin, Toker. On Holy Ground: Liturgy, Architecture and Urbanism in the Cathedral and Streets of Medieval Florence. London: Harvey Miller Publishers and Turnhout: Brepols, 2009.
97. Goldthwaite, Richard A. The Economy of Renaissance Florence. Baltimore: Johns Hopkins University Press, 2009. Holmes, Megan. The Miraculous Image in Renaissance Florence. New Haven: Yale University Press, 2013.
98. Levey, Michael. Florence: A Portrait. Cambridge, Massachusetts: Harvard University Press, 1996.
99. Levy, Allison. Re‐membering Masculinity in Early Modern Florence: Widowed Bodies, Mourning and Portraiture. Farnham and Burlington, Vermont: Ashgate Publishing Company, 2006.
100. Luchs, Alison. The Mermaids of Venice: Fantastic Sea Creatures in Venetian Renaissance Art. London: Harvey Miller Publishers, 2010.
101. Norman, Diana, ed. Siena, Florence, and Padua: Art, Society, and Religion 1280–1400. 2 vols. New Haven: Yale University Press in association with the Open University, 1995.
102. Olson, Roberta J.M. The Florentine Tondo. New York: Oxford University Press, 2000.
103. Partridge, Loren W. The Art of Renaissance Rome, 1400–1600. Perspectives Series. New York: Harry N. Abrams, 1996. Partridge, Loren W. The Art of Renaissance Florence, 1400–1600. Berkeley, California: University of California Press, 2009. Partridge, Loren W. The Art of Renaissance Venice, 1400–1600. Oakland, California: University of California Press, 2015. Pope‐Hennessy, John. The Portrait in the Renaissance. Washington, D.C.: National Gallery of Art, 1966.
104. Randolph, Adrian W.B. Engaging Symbols: Gender, Politics, and Public Art in Fifteenth‐Century Florence. New Haven: Yale University Press, 2002. Rosand, David. Myths of Venice: The Figuration of a State. Chapel Hill and London: University of North Carolina Press, 2001.
105. Rubin, Patricia Lee, and Alison Wright, eds. Renaissance Florence: The Art of the 1470s. Exh. cat. London: National Gallery Publications, 1999. Shearman, John. Mannerism. London: Penguin Books, 1967.
106. Turner, A. Richard. Renaissance Florence: The Invention of a New Art. New York: Harry N. Abrams, 1997.
107. Welch, Evelyn. Art and Authority in Renaissance Milan. New Haven: Yale University Press, 1995.
108. Woods‐Marsden, Joanna. The Gonzaga of Mantua and Pisanello’s Arthurian Frescoes. Princeton: Princeton University Press, 1988.
PATRONAGE AND COLLECTING STUDIES
109. Ames‐Lewis, Francis. The Early Medici and Their Artists. London: Birkbeck College, University of London, Department of Art History, 1995.
110. Ames‐Lewis, Francis. Isabella and Leonardo: The Relationship between Isabella d’Este and Leonardo da Vinci. New Haven: Yale University Press, 2012. Ahl, Diane Cole. Confraternities and the Visual Arts in Renaissance Italy: Ritual, Spectacle, Image. New York: Cambridge University Press, 2000.
111. Burke, Jill. Changing Patrons: Social Identity and the Visual Arts in Renaissance Florence. University Park: Pennsylvania State University Press, 2004. Christian, Kathleen Wren. Empire Without End: Antiquities Collections in Renaissance Rome, ca. 1350‒1527. New Haven: Yale University Press, 2010.
112. Christian, Kathleen Wren, and David J. Drogin, eds. Patronage and Italian Renaissance Sculpture. Aldershot, England, and Burlington, Vermont: Ashgate Publishing Limited, 2010.
113. Fantoni, Marcello, Louisa C. Matthew, and Sara F. Matthews‐Grieco, eds. The Art Market in Italy, 15th–17th Centuries = Il mercato dell'arte in Italia, secc. XV‐XVII. Ferrara: ISR and Modena: Franco Cosimo Panini, 2003.
114. Gilbert, Creighton E. “What Did the Renaissance Patron Buy?” Renaissance Quarterly 51 (1998): 392–450.
115. Goffen, Rona. Piety and Patronage in Renaissance Venice: Bellini, Titian, and the Franciscans. New Haven: Yale University Press, 1986. Goldthwaite, Richard A. Wealth and the Demand for Art in Italy, 1300–1600. Baltimore: Johns Hopkins University Press, 1993.
116. Gombrich, E.H. “The Early Medici as Patrons of Art: A Survey of Primary Sources.” In Norm and Form: Studies in the Art of the Renaissance, 35–57. London: Phaidon, 1966.
117. Goy, Richard. Building Renaissance Venice: Patrons, Architects, and Builders. New Haven: Yale University Press, 2006.
118. Hickson, Sally. Women, Art and Architecture: Matrons, Mystics and Monasteries. Aldershot, England, and Burlington, Vermont: Ashgate Publishing Limited, 2012.
119. Hollingsworth, Mary. Patronage in Renaissance Italy: From 1400 to the Early Sixteenth Century. London: John Murray, 1994. Hollingsworth, Mary. Patronage in Sixteenth‐Century Italy. London: John Murray, 1996.
120. King, Catherine. Renaissance Women Patrons: Wives and Widows in Italy, c. 1300–c. 1550. Manchester, United Kingdom, and New York: Manchester University Press, 1998.
121. Nelson, Jonathan Katz, and Richard J. Zeckhauser, eds. The Patron’s Payoff: Conspicuous Commissions in Italian Renaissance Art. Princeton: Princeton University Press, 2008.
122. Paoletti, John T. Art, Power, and Patronage in Renaissance Italy. Upper Saddle River, New Jersey: Pearson Prentice Hall, 2005.
123. Reiss, Sheryl E., and David G. Wilkins, eds. Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy. Kirksville, Missouri: Truman State University Press, 2001.
124. Welch, Evelyn. Shopping in the Renaissance: Consumer Cultures in Italy, 1400–1600. New Haven: Yale University Press, 2005.
ON PAINTING AND PAINTERS (SEE BELOW FOR INDIVIDUAL BIBLIOGRAPHIES OF LEONARDO AND RAPHAEL)
125. Ahl, Diane Cole. Benozzo Gozzoli. New Haven: Yale University Press, 1996.
126. Ahl, Diane Cole, ed. The Cambridge Companion to Masaccio. New York: Cambridge University Press, 2002.
127. Bambach, Carmen. Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300–1600. New York: Cambridge University Press, 1999. Baxandall, Michael. Giotto and the Orators: Humanist Observes of Painting in Italy and the Discovery of Pictorial Composition, 1350–1450. Oxford: Clarendon
128. Press, 1971.
129. Baxandall, Michael. Painting and Experience in Fifteenth‐Century Italy: A Primer in the Social History of Pictorial Style. Oxford and New York: Oxford University Press, 1972.
130. Beck, James H., and Gino Corti. Masaccio: The Documents. New York: J.J. Augustin, 1978.
131. Borsook, Eve. The Mural Painters of Tuscany: From Cimabue to Andrea del Sarto. London: Phaidon Press, 1960 (second edition 1980). Brilliant, Virginia, and Frederick Ilchman, eds. Paolo Veronese: A Master and His Workshop in Renaissance Venice. London: Scala, 2012.
132. Brooks, Julian, Denise Allen and Xavier Salomon. Andrea del Sarto: The Renaissance Workshop in Action. Exh. cat. Los Angeles: J. Paul Getty Museum, 2015.
133. Brown, David Alan, Peter Humfrey and Mauro Lucco, eds. Lorenzo Lotto: Rediscovered Master of the Renaissance. Exh. cat. Washington, D.C.: National Gallery of Art, 1997.
134. Brown, David Alan, ed. Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting. Exh. cat. Washington, D.C.: National Gallery of Art, 2006.
135. Brown, Patricia Fortini. Venetian Narrative Painting in the Age of Carpaccio. New Haven: Yale University Press, 1988.
136. Campbell, Stephen J. “Giorgione’s Tempest, ‘Studiolo’ Culture, and the Renaissance Lucretius.” Renaissance Quarterly 56, no. 2 (2003): 299–332. Chiodo, Sonia. Painters in Florence after the Black Death: The Master of Misericordia and Matteo di Pacino. Florence: Giunti, 2011.
137. Christiansen, Keith. Gentile da Fabriano. Ithaca, New York: Cornell University Press, 1982.
138. Christiansen, Keith. “Some Observations on the Brancacci Chapel Frescoes After Their Cleaning.” The Burlington Magazine 133, no. 1054 (1991): 4–20. Christiansen, Keith. Andrea Mantegna, Padua and Mantua. New York: George Braziller, 1994.
139. Christiansen, Keith. “Bellini and the Devotional Landscape.” Artibus et Historiae XXXIV, no. 67 (2013): 9–20.
140. Cocke, Richard. Paolo Veronese: Piety and Display in an Age of Religious Reform. Aldershot, England, and Burlington, Vermont: Ashgate Publishing Limited, 2001.
141. Cole, Bruce. Masaccio and the Art of Early Renaissance Florence. Bloomington: Indiana University Press, 1980. Cole, Bruce. The Renaissance Artist at Work: From Pisano to Titian. New York: Harper & Row, 1983.
142. Cole, Bruce. Sienese Painting in the Age of the Renaissance. Bloomington: Indiana University Press, 1985.
143. Cole, Bruce. Piero della Francesca: Tradition and Innovation in Renaissance Art. New York: Icon Editions, 1991. Cole, Bruce. Titian and Venetian Painting, 1450–1590. Boulder: Westview Press, 1999.
144. Crowe, J.A., and G.B. Cavalcaselle. The Life and Times of Titian: With Some Account of His Family. 2 vols. London: J. Murray, 1881.
145. Cranston, Jodi. The Muddied Mirror: Materiality and Figuration in Titian’s Later Paintings. University Park: Pennsylvania State University Press, 2010.
146. Dempsey, Charles. The Portrayal of Love: Botticelli’s Primavera and Humanist Culture at the Time of Lorenzo the Magnificent. Princeton: Princeton University Press, 1992.
147. Ekserdijan, David. Correggio. New Haven: Yale University Press, 1997.
148. Emison, Patricia A. Low and High Style in Italian Renaissance Art. New York: Garland Publishing, 1997. Field, J.V. Piero della Francesca: A Mathematician’s Art. New Haven: Yale University Press, 2005.
149. Fiorenza, Giancarlo. Dosso Dossi: Paintings of Myth, Magic, and the Antique. University Park: Pennsylvania State University Press, 2008. Freedberg, S.J. Andrea del Sarto. 2 vols. Cambridge, Massachusetts: Belknap Press of Harvard University, 1963.
150. Freedberg, S.J. Painting in Italy, 1500–1600. 3rd ed. Yale University Press Pelican History of Art Series. New Haven: Yale University Press, 1993. Freedman, Luba. Titian’s Portraits Through Aretino’s Lens. University Park: Pennsylvania State University Press, 1995.
151. Friedlander, Walter. Mannerism and Anti‐Mannerism. 2nd ed. New York: Columbia University Press, 1990.
152. Gadol, Joan. Leon Battista Alberti: Universal Man of the Early Renaissance. Chicago: University of Chicago Press, 1969.
153. Garrard, Mary D. “Here’s Looking at Me: Sofonisa Anguissola and the Problem of the Woman Artist.” Renaissance Quarterly 47, no. 3 (1993): 556–622. Geronimus, Dennis. Piero di Cosimo: Visions Beautiful and Strange. New Haven: Yale University Press, 2006.
154. Gilbert, Creighton E. How Fra Angelico and Signorelli Saw the End of the World. University Park: Pennsylvania State University Press, 2002. Goffen, Rona. Giovanni Bellini. New Haven: Yale University Press, 1989.
155. Goffen, Rona. “Titian’s Sacred and Profane Love and Marriage.” In The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary D. Garrard, 111–25. New York: Icon Editions, 1992.
156. Goffen, Rona. Titian’s Women. New Haven: Yale University Press, 1997.
157. Goffen, Rona. Masaccio's Trinity. Cambridge and New York: Cambridge University Press, 1998.
158. Goffen, Rona. Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian. New Haven: Yale University Press, 2002. Gould, Cecil. Parmigianino. New York: Abbeville Press, 1994.
159. Hansen, Morton Steen. In Michelangelo’s Mirror: Perino Del Vaga, Daniele Da Volterra, Pellegrino Tibaldi. University Park: Pennsylvania State University Press, 2013.
160. Hartt, Frederick. Giulio Romano. 2 vols. New Haven: Yale University Press, 1958.
161. Hirschauer, Gretchen, and Dennis Geronimus, eds. Piero di Cosimo: the Poetry of Painting in Renaissance Florence. Exh. cat. Washington, D.C.: National Gallery of Art, 2015.
162. Hirst, Michael. Sebastiano del Piombo. Oxford and New York: Oxford University Press, 1981. Hood, William. Fra Angelico at San Marco. New Haven and London: Yale University Press, 1993. Hope, Charles. Titian. New York: Harper & Row, 1980.
163. Hope, Charles. Giorgione or Titian? History of a Controversy. New York: The Frick Collection, 2003.
164. Horster, Marita. Andrea del Castagno: Complete Edition with a Critical Catalogue. Ithaca, New York: Cornell University Press, 1980. Humfrey, Peter, ed. The Cambridge Companion to Giovanni Bellini. Cambridge and New York: Cambridge University Press, 2004. Humfrey, Peter. Carpaccio. London: Chaucer, 2005.
165. Humfrey, Peter. Titian: The Complete Paintings. Gent: Ludion (distributed by Harry N. Abrams), 2007.
166. Jacobs, Frederika Herman. Defining the Renaissance Virtuosa: Women Artists and the Language of Art History. Cambridge: Cambridge University Press, 1997. Jacobs, Frederika Herman. The Living Image in Renaissance Art. New York: Cambridge University Press, 2005.
167. Joannides, Paul. Masaccio and Masolino. A Complete Catalogue. London: Phaidon Press, 1993.
168. Kasl, Ronda, ed. Giovanni Bellini and the Art of Devotion. Exh. cat. Indianapolis: Indianapolis Museum of Art, 2004.
169. Ladis, Andrew. Giotto’s O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel. University Park: Pennsylvania State University Press, 2008. Lavin, Marilyn Aronberg. Piero della Francesca and His Legacy. Exh. cat. Washington, D.C.: National Gallery of Art, 1995.
170. Levey, Michael. Early Renaissance. Harmondsworth, England, and Baltimore: Penguin Books, 1967.
171. Levey, Michael. High Renaissance. Harmondsworth, England, and Baltimore: Penguin Books, 1975.
172. Lewine, Carol F. The Sistine Chapel Walls and the Roman Liturgy. University Park: Pennsylvania State University Press, 1993. Lightbown, R.W. Sandro Botticelli: Life and Work. 2 vols. Berkeley and Los Angeles: University of California Press, 1989. Lightbown, R.W. Piero della Francesca. New York: Abbeville Press, 1992.
173. Lightbown, R.W. Carlo Crivelli. New Haven: Yale University Press, 2004.
174. Loh, Maria. Still Lives: Death, Desire, and the Portrait of the Old Master. Princeton: Princeton University Press, 2015. McIver, Katherine A. “Lavinia Fontana’s Self‐Portrait Making Music.” Woman’s Art Journal 19, no. 1 (1998): 3–8.
175. Maiorino, Giancarlo. The Portrait of Eccentricity: Arcimboldo and the Mannerist Grotesque. University Park: Pennsylvania State University Press, 1991.
176. Meilman, Patricia, ed. The Cambridge Companion to Titian. Cambridge and New York: Cambridge University Press, 2004. Nichols, Tom. Tintoretto: Tradition and Identity. London: Reaktion Books, 1999.
177. Offner, Richard. “Light on Masaccio’s Classicism.” In A Discerning Eye: Essays on Early Italian Painting, ed. Andrew Ladis, 269–79. University Park: Pennsylvania State University Press, 1998.
178. Offner, Richard and Klara Steinweg, with Miklós Boskovits and Mina Gregori. A Critical and Historical Corpus of Florentine Painting. 9 vols. Florence: Giunti Barbèra, 1986–2007.
179. Panofsky, Erwin. Problems in Titian, Mostly Iconographic. New York: Published for the Institute of Fine Arts, New York University by New York University Press, 1969.
180. Polzer, Joseph. “The Anatomy of Masaccio’s Holy Trinity.” Jahrbuch der Berliner Museen 13 (1971): 18–59.
181. Pope‐Hennessy, John. “The Interaction of Painting and Sculpture in Florence in the Fifteenth Century.” Journal of the Royal Society of Arts 177, 5154 (1969): 406–24.
182. Puttfarken, Thomas. The Discovery of Pictorial Composition: Theories of Visual Order in Painting, 1400–1800. New Haven: Yale University Press, 2000. Puttfarken, Thomas. Titian and Tragic Painting: Aristotle’s Poetics and the Rise of the Modern Artist. New Haven: Yale University Press, 2005.
183. Reiss, Jonathan B. The Renaissance Antichrist: Luca Signorelli’s Orvieto Frescoes. Princeton: Princeton University Press, 1995.
184. Ringbom, Sixten. Icon to Narrative: The Rise of the Dramatic Close‐Up in Fifteenth‐Century Devotional Painting. 2nd ed. Doornspijk, The Netherlands: Davaco, 1984.
185. Rosand, David, ed. Titian, His World and His Legacy. New York: Columbia University Press, 1982.
186. Rosand, David. Painting in Sixteenth‐Century Venice. Titian, Veronese, Tintoretto. Rev. ed. Cambridge: Cambridge University Press, 2002.
187. Rutherglen, Susannah, and Charlotte Hale, eds. In a New Light: Giovanni Bellini’s St. Francis in the Desert. New York: The Frick Collection in Collaboration with
188. D. Giles Limited, London, 2014.
189. Salomon, Xavier. Veronese: Magnificence in Renaissance Venice. Exh. cat. London: National Gallery Company, 2014.
190. Schmidt Arcangeli, Catarina. “‘Orientalist’ Painting in Venice, 15th–17th Centuries.” In Venice and the Islamic World, 828–1797, ed. Stefano Carboni, 121–39. Exh. cat. New York: Metropolitan Museum of Art, 2006.
191. Shearman, John. Andrea del Sarto. 2 vols. Oxford: Clarendon Press, 1965.
192. Smyth, Carolyn. Correggio’s Frescoes in Parma Cathedral. Princeton: Princeton University Press, 1997. Steinberg, Leo. “Pontormo’s Capponi Chapel.” The Art Bulletin 56, no. 3 (1974): 385–99.
193. Welch, Evelyn. “Painting as Performance in the Italian Renaissance Court.” In Artists at Court: Image‐Making and Identity, 1300–1550, ed. Stephen J. Campbell, 19–32. Exh. cat. Boston: Isabella Stewart Gardner Museum, 2004.
194. Wethey, Harold E. The Paintings of Titian. 3 vols. London: Phaidon, 1969–1975.
195. Wethey, Harold E. Titian and His Drawings: With Reference to Giorgione and Some Close Contemporaries. Princeton: Princeton University Press, 1987. Wood, Jeryldene M., ed. The Cambridge Companion to Piero della Francesca. Cambridge and New York: Cambridge University Press, 2002.
196. Woods‐Marsden, Joanna. Renaissance Self‐Portraiture: the Visual Construction of Identity and the Social Status of the Artist. New Haven: Yale University Press, 1998.
ON LEONARDO (INCLUDING SCULPTURE AND ARCHITECTURE)
197. Bambach, Carmen C., ed. Leonardo da Vinci, Master Draftsman. Exh. cat. New York: Metropolitan Museum of Art, 2003. Beck, James. “The Dream of Leonardo.” Artibus et Historiae 14, no. 27 (1993): 185–98.
198. Brown, David Alan. Leonardo’s Last Supper: The Restoration. Exh. cat. Washington, D.C.: National Gallery of Art, 1983. Brown, David Alan. “Leonardo and the Ladies with the Ermine and the Book.” Artibus et Historiae 11, no. 22 (1990): 47–61. Brown, David Alan. Leonardo da Vinci: Origins of a Genius. New Haven: Yale University Press, 1998.
199. Bull, David. “Two Portraits by Leonardo: Ginevra De' Benci and the Lady with an Ermine.” Artibus et Historiae 13, no. 25 (1992): 67–83. Burke, Jill. “Meaning and Crisis in the Early Sixteenth Century: Interpreting Leonardo's Lion.” Oxford Art Journal 29, no. 1 (2006): 79–91. Clayton, Martin, and Ron Philo. Leonardo da Vinci, Anatomist. Exh. cat. London: Royal Collection Publications, 2012.
200. Dunkerton, Jill. “Leonardo in Verrocchio's Workshop: Re‐examining the Technical Evidence.” National Gallery Technical Bulletin 32 (2011): 4–31. Farago, Claire, ed. Leonardo’s Writings and Theory of Art. New York: Garland, 1999.
201. Friesen, Ilse E. “Leonardo Da Vinci's Unorthodox Iconography: The Madonna with the Cat.” RACAR: Revue D'art Canadienne/Canadian Art Review 16, no. 1 (1989): 19–80.
202. Kemp, Martin. “Leonardo da Vinci: Science and the Poetic Impulse.” In Sixteenth‐Century Italian Art, ed. Michael A. Cole, 94–114. Malden, Massachusetts: Blackwell Publishing, 2006.
203. Kemp, Martin. Leonardo da Vinci. The Marvelous Work of Nature and Man. Oxford: Oxford University Press, 2006.
204. Kwakkelstein, Michael W. “Leonardo Da Vinci's Grotesque Heads and the Breaking of the Physiognomic Mould.” Journal of the Warburg and Courtauld Institutes 54 (1991): 127–36.
205. Land, Norman E. “Leonardo and Apelles.” Source: Notes in the History of Art 25, no. 2 (2006): 14–17.
206. Maiorino, Giancarlo. Leonardo da Vinci: The Daedalian Mythmaker. University Park: Pennsylvania State University Press, 1992. Manca, Joseph. “The Gothic Leonardo: Towards a Reassessment of the Renaissance.” Artibus et Historiae 17, no. 34 (1996): 121–58.
207. Marani, Pietro C. Leonardo da Vinci: The Complete Paintings. Trans. A. Lawrence Jenkens. New York: Harry N. Abrams, 2000.
208. Meyer, Barbara Hochstetler, and Alice Wilson Glover. “Botany and Art in Leonardo's Leda and the Swan.” Leonardo 22, no. 1 (1989): 75–82.
209. Meyer, Barbara Hochstetler. “Leonardo's Hypothetical Painting of Leda and the Swan.” Mitteilungen Des Kunsthistorischen Institutes in Florenz 34, no. 3 (1990): 279–94.
210. Newton, H. Travers. “Leonardo Da Vinci as Mural Painter: Some Observations on His Materials and Working Methods.” Arte Lombarda no. 66, 3 (1983): 71–88. Popham, A.E. The Drawings of Leonardo da Vinci. Rev. Martin Kemp. London: Pimlico, 1994.
211. Radke, Gary M. Leonardo de Vinci and the Art of Sculpture. Exh. cat. Atlanta: High Museum of Art, 2009.
212. Steinberg, Leo. Leonardo’s Incessant Last Supper. New York: Zone Books, 2001.
213. Syson, Luke. “Leonardo and Leonardism in Sforza Milan.” In Artists at Court: Image‐Making and Identity, 1300–1550, ed. Stephen J. Campbell, 106–23. Exh. cat. Boston: Isabella Stewart Gardner Museum, 2004.
214. Turner, A. Richard. Inventing Leonardo. New York: Knopf, 1993.
215. Wasserman, Jack. “Rethinking Leonardo da Vinci’s Last Supper.” Artibus et Historiae 28, no. 55 (2007): 23–35. Zöllner, Frank. Leonardo da Vinci, 1452–1519: The Complete Paintings and Drawings. Rev. ed. Köln: Taschen, 2015.
216. Zwijnenberg, Robert. The Writings and Drawings of Leonardo da Vinci: Order and Chaos in Early Modern Thought. Cambridge and New York: Cambridge University Press, 1999.
ON RAPHAEL (INCLUDING ARCHITECTURE)
217. Ames‐Lewis, Francis. The Draftsman Raphael. New Haven: Yale University Press, 1986.
218. Barolsky, Paul. “Raphael in the Shadow of Death.” Source: Notes in the History of Art 34, no. 2 (2015): 19–21. Beck, James H. Raphael: The Stanza della Segnatura. New York: George Braziller, 1993.
219. Beck, James H. Raphael. New York: Harry N. Abrams, 1994.
220. Campbell, Stephen J. “The New St Peter’s: Basilica or Temple?” Oxford Art Journal 4 (1981): 3–8.
221. Cranston, Jodi. “Tropes of Revelation in Raphael’s Transfiguration.” Renaissance Quarterly 56, no. 1 (2003): 1–25. Dacos, Nicole. The Loggia of Raphael: A Vatican Art Treasure. Trans. Josephine Bacon. New York: Abbeville Press, 2008.
222. Ettlinger, L.D. “Raphael’s Early Patrons.” Studies in the History of Art 17, Symposium Papers V: Raphael Before Rome (1986): 85–90. Evans, Mark, and Clare Browne, eds. Raphael: Cartoons and Tapestries for the Sistine Chapel. Exh. cat. London: V&A Publishing, 2010.
223. Fehl, Philipp P. “Raphael as a Historian: Poetry and Historical Accuracy in the Sala di Constantino.” Artibus et Historiae 14, no. 28 (1993): 9–76.
224. Fermor, Sharon. The Raphael Tapestry Cartoons: Narrative, Decoration, Design. London: Scala Books in association with the Victoria and Albert Museum, 1996. Fermor, Sharon, and Alan Derbyshire. “The Raphael Tapestry Cartoons Re‐examined.” The Burlington Magazine 140, no. 1141 (1998): 236–50.
225. Fischel, Oskar. Raphael. Trans. Barnard Rackham. 2 vols. London: Kegan Paul, 1948.
226. Forcellino, Antonio. Raphael: A Passionate Life. Trans. Lucinda Byatt. Cambridge, England, and Malden, Massachusetts: Polity Press, 2012. Goffen, Rona. “Raphael’s Designer Labels: From the Virgin Mary to La Fornarina.” Artibus et Historiae 24, no. 48 (2003): 123–42.
227. Hall, Marcia B., ed. Raphael’s School of Athens. Cambridge and New York: Cambridge University Press, 1997. Hall, Marcia B., ed. The Cambridge Companion to Raphael. New York: Cambridge University Press, 2005. Joannides, Paul. The Drawings of Raphael: With a Complete Catalogue. Oxford: Phaidon, 1983.
228. Joannides, Paul. “Raphael: A Sorority of Madonnas.” The Burlington Magazine 146, no. 1220 (2004): 749–52.
229. Joost‐Gaugier, Christiane L. Raphael’s The Stanza della Segnatura: Meaning and Invention. New York: Cambridge University Press, 2002. Kleinbub, Christian K. “Raphael’s Transfiguration as Visio‐Devotional Program.” The Art Bulletin 90, no. 3 (2008): 367–93.
230. Kleinbub, Christian K. Vision and Visionary in Raphael. University Park: Pennsylvania State University Press, 2011.
231. Kwakkelstein, Michael W. “The Model’s Pose: Raphael’s Early Use of Antique and Italian Art.” Artibus et Historiae 23, no. 46 (2002): 37–60. Licht, Fred. “Raphael’s Curtain Rod.” Source: Notes in the History of Art 34, no. 1 (2014): 18–23.
232. Meyer zur Capellen, Jürg. Raphael: A Critical Catalogue of His Paintings. 3 vols. Landshut: Arcos, 2000–2008.
233. Most, Glenn W. “Reading Raphael: The School of Athens and Its Pre‐text.” Critical Inquiry 23, no. 1 (1996): 145–82. Napoleone, Caterina, ed. Villa Madama: Raphael’s Dream. Turin and New York: Umberto Allemandi, 2007.
234. Nesselrath, Arnold. “Raphael and Pope Julius II.” In Raphael: From Urbino to Rome, eds. Hugo Chapman, Tom Henry and Carol Plazotta, 281–93. Exh. cat. London: National Gallery, 2004.
235. Oberhuber, Konrad. Raphael, The Paintings. New York: Prestel Verlag, 1999.
236. Pon, Lisa. “Raphael's Acts of the Apostles Tapestries for Leo X: Sight, Sound, and Space in the Sistine Chapel.” The Art Bulletin 97, no. 4 (2015): 388–408. Powers, Richard Joseph. Bramante and Raphael at the Vatican: A Loggia for Pope Julius. PhD dissertation, University of Illinois at Urbana‐Champaign, 1993. Reilly, Patricia L. “Raphael’s Fire and the Borgo: and the Italian Pictorial Vernacular.” The Art Bulletin 92, no. 4 (2010): 308‐25.
237. Rijser, David. Raphael’s Poetics: Art and Poetry in High Renaissance Rome. Amsterdam: Amsterdam University Press, 2012.
238. Rosenberg, Martin. Raphael and France: The Artist as Paradigm and Symbol. University Park: Pennsylvania State University Press, 1994. Rowland, Ingrid D. “Raphael, Angelo Colocci, and the Genesis of the Architectural Orders.” The Art Bulletin 76, no. 1 (1994): 81–104 Shearman, John. The Vatican Stanze, Functions and Decorations. London: Oxford University Press, 1972.
239. Shearman, John. “Castiglione's Portrait of Raphael.” Mitteilungen Des Kunsthistorischen Institutes in Florenz 38, no. 1 (1994): 69–97.
240. Shearman, John. Raphael in Early Modern Sources, 1483–1602. New Haven: Yale University Press, 2003. Viljoen, Madeleine. “Raphael and the Restorative Power of Prints.” Print Quarterly 18, no. 4 (2001): 379–95.
DRAWINGS AND PRINTS
241. Ames‐Lewis, Francis. Drawing in Early Renaissance Italy. 2nd rev. ed. New Haven: Yale University Press, 2000.
242. Bambach, Carmen C. Correggio and Parmigianino: Master Draughtsmen of the Renaissance. London: The Trustees of the British Museum, 2000. Berenson, Bernard. The Drawings of the Florentine Painters. 3 vols. Chicago: University of Chicago Press, 1938.
243. Chapman, Hugo. Fra Angelico to Leonardo: Italian Renaissance Drawings. Exh. cat. London: British Museum 2010.
244. Cropper, Elizabeth. Florentine Drawing at the Time of Lorenzo the Magnificent: Papers from a Colloquium Held at the Villa Spelman, Florence. Bologna: Nuova Alfa Editoriale and Baltimore: Johns Hopkins University Press, 1994.
245. Gnann, Achim. The Era of Michelangelo: Masterpieces from the Albertina. Exh. cat. Vienna: Albertina, 2004.
246. Joannides, Paul. Michelangelo and His Influence: Drawings from Windsor Castle. Exh. cat. Washington, D.C.: National Gallery of Art, 1996. Landau, David, and Peter W. Parshall. The Renaissance Print: 1470–1550. New Haven: Yale University Press, 1994.
247. Pon, Lisa. Raphael, Dürer, and MarcAntonio Raimondi: Copying and the Italian Renaissance Print. New Haven: Yale University Press, 2004.
248. Speelberg, Femke. “Fashion & Virtue: Textile Patterns and the Print Revolution, 1520–1620.” The Metropolitan Museum of Art Bulletin LXXIII, no. 2 (2015): 5– 48.
249. Tietze, Hans, and Erika Tietze‐Conrat. The Drawings of the Venetian Painters in the 15th and 16th Centuries. 2 vols. New York: J.J. Augustin, 1944. Wilson, Bronwen. The World in Venice: Print, the City and Early Modern Identity. Toronto: Toronto University Press, 2005.
SCULPTURE (SEE BELOW FOR BIBLIOGRAPHY OF MICHELANGELO)
250. Avery, Charles. Florentine Renaissance Sculpture. London: J. Murray, 1970.
251. Bennett, Bonnie A., and David G. Wilkins. Donatello. Mt. Kisco, New York: Moyer Bell, 1984.
252. Bober, Phyllis Pray, and Ruth Rubinstein. Renaissance Artists & Antique Sculpture: A Handbook of Sources. 2nd ed. London: H. Miller, 2010.
253. Borgo, Ludovico, and Ann H. Sievers. “The Medici Gardens at San Marco.” Mitteilungen Des Kunsthistorischen Institutes in Florenz 33, no. 2/3 (1989): 237–56.
254. Butterfield, Andrew. The Sculptures of Andrea del Verrocchio. New Haven: Yale University Press, 1997.
255. Carl, Doris. Benedetto da Maiano: A Florentine Sculptor at the Threshold of the High Renaissance. 2 vols. Turnhout, Belgium: Brepols, 2006. Cole, Michael W. Ambitious Form: Giambologna, Ammanati, and Danti in Florence. Princeton: Princeton University Press, 2011
256. Covi, Dario. Andrea del Verrocchio: Life and Work. Firenze: Olschki, 2005.
257. Greenhalgh, Michael. Donatello and His Sources. New York: Holmes & Meier, 1982.
258. McHam, Sarah Blake, ed. Looking at Italian Renaissance Sculpture. Cambridge and New York: Cambridge University Press, 1998.
259. McHam, Sarah Blake. “Donatello’s Bronze David and Judith as Metaphors of Medici Rule in Florence.” The Art Bulletin 83, no. 1 (2001): 32–47.
260. Hartt, Frederick, Gino Corti and Clarence Kennedy. The Chapel of the Cardinal of Portugal, 1434–1459, at San Miniato in Florence. Philadelphia: University of Pennsylvania Press, 1964.
261. Janson, H.W. (Horst Woldemar). The Sculpture of Donatello. 2 vols. Princeton: Princeton University Press, 1957. Krautheimer, Richard. Lorenzo Ghiberti. 2 vols. Princeton: Princeton University Press, 1970.
262. Lightbown, R. W. Donatello & Michelozzo: An Artistic Partnership and Its Patrons in the Early Renaissance. 2 vols. London and Philadelphia: H. Miller, 1980. Olson, Roberta J.M. Italian Renaissance Sculpture. New York: Thames and Hudson, 1992.
263. Paoletti, John T. “Wooden Sculpture in Italy as Sacral Presence.” Artibus et Historiae, 13, no. 26 (1992): 85–100.
264. Poeschke, Joachim. Donatello and His World: Sculpture of the Italian Renaissance. Trans. Russell Stockman. New York: Harry N. Abrams, 1993. Pope‐Hennessy, John. Essays on Italian Sculpture. London: Phaidon, 1968.
265. Pope‐Hennessy, John. The Study and Criticism of Italian Sculpture. New York: Metropolitan Museum of Art, 1980. Pope‐Hennessy, John. Donatello, Sculptor. New York: Abbeville Press, 1993.
266. Pope‐Hennessy, John. An Introduction to Italian Sculpture. London: Phaidon Press, 1996.
267. Schulz, Anne Markham. “Revising the History of Venetian Renaissance Sculpture: Niccolò and Pietro Lamberti.” Saggi e Memorie di Storia dell’Arte 15 (1986): 7; 9–61; 137–222.
268. Seymour, Charles. Sculpture in Italy: 1400–1500. Harmondsworth, England, and Baltimore: Penguin Books, 1966. Seymour, Charles. The Sculpture of Verrocchio. Greenwich and New York: Graphic Society, 1971.
ON MICHELANGELO
269. Acidini Luchinat, Christina. “Michelangelo and the Medici.” In The Medici, Michelangelo and the Art of Late Renaissance Florence, ed. Christina Acidini Luchinat, 1–23. New Haven: Yale University Press, 2002.
270. Ackerman, James S. The Architecture of Michelangelo. Harmondsworth, England: Penguin Books, 1986. Argan, Giulio Carlo. Michelangelo Architect. Trans. Marion L. Grayson. New York: Harry N. Abrams, 1993. Barkan, Leonard. Michelangelo: A Life on Paper. Princeton: Princeton University Press, 2011.
271. Barnes, Bernadine. “Skin, Bones, and Dust: Self‐Portraits in Michelangelo’s Last Judgment.” The Sixteenth Century Journal 35 (2004): 969–86. Brothers, Cammy. Michelangelo, Drawing, and the Invention of Architecture. New Haven: Yale University Press, 2008.
272. Campbell, Stephen J. “‘Fare una Cosa Morta Parer Viva’: Michelangelo, Rosso, and the (Un)Divinity of Art.” The Art Bulletin 84, no. 4 (2002): 596–620.
273. Forcellino, Antonio. Michelangelo: A Tormented Life. Trans. Allan Cameron. Cambridge, England, and Malden, Massachusetts: Polity Press, 2009.
274. Greenstein, Jack M. “‘How Glorious the Second Coming of Christ: Michelangelo’s Last Judgment and the Transfiguration.” Artibus et Historiae 10, no. 20 (1989): 33–57.
275. Hall, Marcia. “Michelangelo’s Last Judgment: Resurrection of the Body and Predestination.” The Art Bulletin 58, no. 1 (1976): 85–92. Hartt, Frederick. Michelangelo: The Complete Sculpture. London: Thames and Hudson, 1969.
276. Hartt, Frederick. The Drawings of Michelangelo. London: Thames and Hudson, 1971.
277. Hirst, Michael. Michelangelo and His Drawings. New Haven: Yale University Press, 1988.
278. Leader, Anne. “Michelangelo’s Last Judgment: The Culmination of Papal Propaganda in the Sistine Chapel.” Studies in Iconography 27 (2006): 103–56.
279. Levine, Saul. “The Location of Michelangelo's David.” The Art Bulletin 56, no. 1 (1974): 31–49. (Also see N. Randolph Park’s “The Placement of Michelangelo's
280. David: A Review of the Documents.” The Art Bulletin 57, no. 4 (1975): 560–70.)
281. Nagel, Alexander. Michelangelo and the Reform of Art. Cambridge and New York: Cambridge University Press, 2000. Paoletti, John T. “Michelangelo’s Masks.” The Art Bulletin 74, no. 3 (1992): 423–40.
282. Partridge, Loren W. Michelangelo: The Sistine Chapel Ceiling, Rome. New York: George Braziller Incorporated, 1996.
283. Spike, John T. Young Michelangelo: The Path to the Sistine. New York: Vendome Press, 2010.
284. Steinberg, Leo. Michelangelo’s Last Paintings: The Conversion of St. Paul and the Crucifixion of St. Peter in the Cappella Paolina, Vatican Palace. New York: Oxford University, 1975.
285. Steinberg, Leo. “Michelangelo’s Last Judgment as Merciful Heresy.” Art in America 63 (1975): 49–65.
286. Steinberg, Leo. “Who's Who in Michelangelo's Creation of Adam: A Chronology of the Picture's Reluctant Self‐Revelation.” The Art Bulletin 74, no. 4 (1992): 552–66.
287. Summers, David. “Michelangelo's Battle of Cascina, Pomponius Gauricus, and the Invention of a "Gran Maniera" in Italian Painting.” Artibus et Historiae 28, no. 56 (2007): 165–76.
288. Wallace, William E. Michelangelo at San Lorenzo: The Genius as Entrepreneur. New York: Cambridge University Press, 1994.
289. Wallace, William E. “A Week in the Life of Michelangelo.” In Looking at Italian Renaissance Sculpture, ed. Sarah Blake McHam, 203–19. New York: Cambridge University Press, 1998.
290. Wallace, William E. Michelangelo: The Artist, Man, and His Times. Cambridge and New York: Cambridge University Press, 2010. Wisch, B. “Vested Interest: Redressing Jews on Michelangelo’s Sistine Ceiling.” Artibus et Historiae 24, no. 48 (2003): 143–72.
ARCHITECTURE AND URBANISM
291. Adams, N., and L. Nussdorfer. “The Italian City, 1400–1600.” In The Renaissance from Brunelleschi to Michelangelo: The Representation of Architecture, ed. H.A. Millon, 205–20. New York: Rizzoli, 1997.
292. Argan, Giulio Carlo. The Renaissance City. New York: George Braziller Incorporated, 1969.
293. Atkinson, Niall. The Noisy Renaissance: Sound, Architecture, and Florentine Urban Life. University Park: Pennsylvania State University Press, 2016. Battisti, Eugenio. Filippo Brunelleschi: The Complete Work. Trans. Robert Erich Wolf. New York: Rizzoli, 1981.
294. Brown, Beverly Louise. “An Enthusiastic Amateur: Lorenzo de’Medici as Architect.” Renaissance Quarterly 45 (1993): 1–22. Coffin, David R. The Villa in the Life of Renaissance Rome. Princeton: Princeton University Press, 1979.
295. Concina, Ennio. A History of Venetian Architecture. Trans. Judith Landry. Cambridge: Cambridge University Press, 1998. Goy, Richard. Venice: The City and Its Architecture. London: Phaidon Press, 1999.
296. Goy, Richard. Florence: The City and Its Architecture. London: Phaidon Press, 2002.
297. Heydenreich, Ludwig. Architecture in Italy, 1400–1500. Rev. Paul Davies. Yale University Press Pelican History of Art Series. New Haven: Yale University Press, 1996.
298. Howard, Deborah. Venice and the East: The Impact of the Islamic World on Venetian Architecture, 1100–1500. New Have: Yale University Press, 2000. Howard, Deborah. The Architectural History of Venice. Rev. and enlarged ed. New Haven: Yale University Press, 2004.
299. Howard, Deborah, and Laura Moretti. Sound and Space in Renaissance Venice: Architecture, Music, Acoustics. New Haven: Yale University Press, 2009.
300. Huppert, Ann C. “Envisioning New St. Peter’s: Perspectival Drawings and the Process of Design.” Journal of the Society of Architectural Historians 68, no. (2009): 158–77.
301. Kelly, Joan. Leon Battista Alberti: Universal Man of the Renaissance. Chicago: University of Chicago Press, 1969.
302. King, Ross. Brunelleschi's Dome: How a Renaissance Genius Invented Architecture. New York: Walker and Company, 2000. Lieberman, Ralph. Renaissance Architecture in Venice, 1450–1540. New York: Abbeville Press, 1982.
303. Lillie, Amanda. Florentine Villas in the Fifteenth Century: An Architectural and Social History. Cambridge and New York: Cambridge University Press, 2005.
304. Lindow, James R. The Renaissance Palace in Florence: Magnificence and Splendour in Fifteenth‐Century Italy. Aldershot, England, and Burlington, Vermont: Ashgate Publishing Limited, 2007.
305. Lotz, Wolfgang. Studies in Italian Renaissance Architecture. Cambridge, Massachusetts, and London: MIT Press, 1977.
306. Lotz, Wolfgang. Architecture in Italy, 1500–1600. Rev. Deborah Howard. Yale University Press Pelican History of Art Series. New Haven: Yale University Press, 1995.
307. Maier, Jessica. A “True Likeness”: The Renaissance City Portrait.” Renaissance Quarterly 65, no. 3 (2012): 711–52.
308. Milton, Henry A., and Vittorio Magnano Lampugnani, eds. The Renaissance from Brunelleschi to Michelangelo: The Representation of Architecture. Exh. cat. New York: Rizzoli, 1994.
309. Murray, Peter. Renaissance Architecture. Rev. ed. New York: Electra/Rizzoli, 1985.
310. Payne, Alina A. The Architectural Treatise in the Italian Renaissance: Architectural Invention, Ornament, and Literary Culture. Cambridge and New York: Cambridge University Press, 1999.
311. Pearson, Caspar. Humanism and the Urban World: Leon Battista Alberti and the Renaissance City. University Park: Pennsylvania State University Press, 2011. Rubinstein, Nicolai. The Palazzo Vecchio, 1298–1532: Government, Architecture, and Imagery in the Civic Palace of the Florentine Republic. New York: Oxford University Press, 1995.
312. Smith, Christine. Architecture in the Culture of Early Humanism: Ethics, Aesthetics, and Eloquence. New York and Oxford: Oxford University Press, 1992.
313. Temple, Nicholas. Renovatio Urbis: Architecture, Urbanism, and Ceremony in the Rome of Julius II. The Classical Tradition in Architecture series. Abingdon: Routledge, 2011. (Also see Guido Rebecchini’s review in Renaissance Quarterly 65, no. 2 (2012): 538–40.)
314. Trachtenberg, Marvin. Dominion of the Eye: Urbanism, Art and Power in Early Modern Florence. Cambridge: Cambridge University Press, 1997. Trachtenberg, Marvin. Building‐In‐Time: From Giotto to Alberti to Modern Oblivion. New Haven: Yale University Press, 2010.
315. Wittkower, Rudolf. Architectural Principles in the Age of Humanism. London: The Warburg Institute, 1949.
THE DECORATIVE ARTS
316. Ajmar‐Wollheim, Marta, and Flora Dennis, eds. At Home in Renaissance Italy. Exh. cat. London: Victoria & Albert Museum, 2006.
317. Campbell, Thomas P. Tapestry in the Renaissance: Art and Magnificence. Exh. cat. New York: The Metropolitan Museum of Art and New Haven: Yale University Press, 2002.
318. Olson, Roberta J.M., Patricia L. Reilly and Rupert Shepherd, eds. The Biography of the Object in Late Medieval and Renaissance Italy. Malden, Massachusetts: Blackwell Publishing, 2006.
319. Randolph, Adrian W.B. Touching Objects: Intimate Experiences of Italian Fifteenth‐Century Art. New Haven: Yale University Press, 2014.
320. Van der wee, Herman, ed. The Rise and Decline of Urban Industries in Italy and the Low Countries (Late Middle Ages–Early Modern Times). Leuven: Leuven University Press, 1987. Reissued by Cornel University Press in 1988. (This is an extremely useful book for information on the production of luxury goods, especially fabrics and tapestries.)
EMBLEMS
321. Daly, Peter M., and John Manning. Aspects of Renaissance and Baroque Symbol Theory, 1500–1700. AMS Studies in the Emblem, no. 14. New York: AMS Press, Inc., 1999.
322. Daly, Peter M. The Emblem in Early Modern Europe. Farnham, Surrey: Ashgate Publishing Company, 2014.
ONLINE RESOURCES
323. “Aquae Urbis Romae: The Waters of the City of Rome.” Accessed at: http://www3.iath.virginia.edu/waters/first.html
324. “The History of the Accademia di San Luca, ca. 1590–1635: Documents from the Archivio di Stato di Roma.” Accessed at: http://www.nga.gov/content/accademia/en/intro.html
325. “Italian Renaissance Learning Resources.” Accessed at: http://italianrenaissanceresources.com/ “Mapping Titian.” Accessed at: http://www.mappingtitian.org/
326. “Renaissance Melancholy.” Accessed at: http://melancholystories.com/ “Romelab.” Accessed at: http://romelab.etc.ucla.edu/
327. “Study and Digitisation of Italian Emblems.” Accessed at: http://www.italianemblems.arts.gla.ac.uk/index.php
328. “Vasari’s The Lives of the Artists.” Accessed at: http://members.efn.org/~acd/vite/VasariLives.html