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摘要
摘要
In the first contemporary single-volume survey of the three arts of Venice--painting, sculpture, and architecture--Norbert Huse and Wolfgang Wolters offer an important counterbalance to the traditional orientation toward painting as the city's preeminent art by focusing on architecture as the essential Venetian art. They begin their study in 1460, when Venice was one of the key powers of Italy, and end with the death of Tintoretto in 1594, a period of waning international power. In the process, they define the distinctly Venetian terms by which the city and its culture should be understood. With over three hundred illustrations and an exhaustive bibliography, this volume makes an impressive contribution to art historical scholarship.
"The historical aspect of this book is splendid, but where it excels is in its fearless and thought-provoking critical judgements. . . . it will lead both beginners and experts to new joys."--David Ekserdjian, Times Literary Supplement
评论 (2)
Choice 评论
This is the first book on Venetian Renaissance art that treats developments in architecture, sculpture, and painting as part of a single phenomenon--the forma urbis of the island republic of Venice. Huse and Wolters are both acknowledged authorities on Venetian art, and their study--a very readable translation of a work originally published in German (Venedig, die Kunst der Renaissance, 1986)--brings together a wealth of information previously available only in specialized publications. Their treatment releases Venetian art from the Florentine aesthetic and allows it to be seen in its own terms, responding to the specific needs of a prosperous and sophisticated urban clientele. In a departure from previous discussions of Venetian art, architecture and sculpture are highlighted and discussed as fundamental articulations of Venetian Renaissance culture, categories of production that supported the city's growth to world prominence in the course of the 15th century. Intelligently illustrated with excellent black-and-white photography, numerous collateral illustrations, and an enticing collection of color plates. Certain to become the standard one-volume treatment of Venetian Renaissance art. -D. Pincus, University of British Columbia
《图书馆杂志》(Library Journal )书评
While no single volume can encompass the art of Renaissance Venice, Huse and Wolters's in-depth survey does nevertheless provide an informative and frequently insightful introduction to the city's artistic achievement. Particularly useful is Huse's consideration of painting. Instead of a traditional sequential approach to great masters, the paintings are arranged for formal and iconographic analysis within the context of chronological periods and functional categories. Similarly the efforts of the architects are described in terms of distinctive building types. The justifiably shorter chapter on sculpture, however, employs a more traditional, personality-centered approach. Although the numerous illustrations are never more than adequate and the unusual organization detracts from a sense of the artists' development, no serious collection should be without this excellent synthesis.-- Robert Cahn, Fashion Inst. of Technology, New York (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
目录
Architecture & Sculpture Wolfgang Wolters |
1 Forma Urbis |
2 The Beginnings |
3 Civic Architecture House and Palace Mauro Codussi Buildings of the First Half of the Sixteenth Century Public Buildings Jacopo SansovinoMichele Sanmicheli--Andrea Palladio Buildings of the Second Half of the Sixteenth Century |
4 Sacred Buildings Churches and Monasteries (1460-1530) Jacopo Sansovino and His ContemporariesAndrea Palladio |
5 Scuole |
6 Villas for Venetians |
7 Sculpture The Sculptor's Workshop Antonio Rizzo The Lombardo Family and Their Contemporaries Jacopo Sansovino Alessandro Vittoria Plates PaintingNorbert Huse |
8 Between 1460 and 1505 Artisans or Artists? Altar Panels Christ and the Virgin "in Forma Pietatis" Histories and Legends Faces and Landscapes |
9 Between 1505 and 1550 Autonomy and Competition Altarpieces and Devotional Paintings Portraits Mythology or Genre? History Painting |
10 Between 1550 and 1590 Pictures and Their Audience Altarpieces Portrait Painting History in Pictures Ceiling Paintings Gods and Landscapes About 1590 |
Notes |
Bibliography |
Photo Credits |
Index |