Correggio by Lucia F. Schianchi; Christopher Evans (Translator)Antonio Allegri was born in Corregio in c.1489, and died at the age of 45. His training and early influences are uncertain, but his early works are reminiscent of the styles of Andrea Mantegna and Lorenzo Costa. Correggio explores the painter's works in great detail, from his early paintings, to his great work in the dome of Parma Cathedral, painted between 1526 and 1530. The contradiction between Correggio's religious works and his profane paintings of scenes from mythology is also examined.
Call Number: ND623.C7F6713 1994
Publication Date: 1994
The Age of Correggio and the Carracci by National Gallery of Art (U.S.) Staff (Contribution by); Pinacoteca nazionale (Bologna, Italy) Staff (Contribution by); Metropolitan Museum of Art (New York, N.Y.) Staff (Contribution by)
Pontormo-Rosso Fiorentino by Elisabetta M. Letta; Anthony Brierly (Translator); Roberto P. Ciardi (Preface by)
Call Number: ND622.M3713 1994
Publication Date: 1995
Pontormo by Salvatore S. NigroJacopo Carrucci (1494-1557), called Pontormo after his birthplace, was the main representative of Florentine Mannerism, the 75-year period that links the High Renaissance and early Baroque eras. This book presents an overview of the artist's most important achievements.
Benvenuto Cellini (1500 - 1571): Topic Page1500–1571, Italian sculptor, metalsmith, and author. His remarkable autobiography (written 1558–62), which reads like a picaresque novel, is one of the most important documents of the 16th cent.
Benvenuto Cellini by Mario ScaliniBenvenuto Cellini was born in Florence in 1500, and started his career with an apprenticeship with the goldsmith Michelangelo di Viviano da Gaiole. For the first half of his life, he recreated in miniature the monumental forms that his famous contemporaries created in marble and bronze, before realising that he had the skill to create in a larger scale. In 1542 Cellini started work on the doorway of the palace of Fontainebleau for King Francis I of France, and later a number of bronze busts and statues, most famous of which is his Perseus, commissioned in 1545 by Cosimo de'Medici. Benvenuto Cellini follows the life of the artist in the context of his great works, and quotes extensively from Cellini's autobiography.
Call Number: NB623.C3S24313 1995
Publication Date: 1996
Autobiography / Benvenuto Cellini ; translated from the Italian by John Addington Symonds. by Benvenuto Cellini
Agnolo Bronzino (1503-1572): Topic PageThe pupil of Pontormo and his lifelong friend, was the principal practitioner of Florentine Mannerism. He is best known for his portraits of Cosimo de' Medici's family and his courtiers, which reveal beneath their glacial exteriors the sitters' anxieties.
Bronzino by Alessandro Cecchi; Christopher Evans (Translator)Bronzino was born Agnolo di Cosimo di Mariano on 17th November 1503, in Monticelli, and was the son of a butcher. He was apprenticed to mediocre painter and then to Raffaellino del Garbo in order to study the principles of art, but his greatest progress was made after he was apprenticed to Jacopo Carrucci, known as Pontormo, an association that was to last the rest of Pontormo's life. Bronzino looks at the life of this artist throughout four phases of his life, from his origins and apprenticeship to Pontormo, to his time as the official painter and portraitist of the Medici Court (1537 - 1555) to his late works.
Giorgio Vasari (1511 - 1574): Topic PageItalian architect, painter, and art historian, noted for his Lives of the Most Excellent Italian Architects, Painters, and Sculptors (1550; 1568), a principal source for the history of Italian Renaissance art.
Veronese (1528-1588): Topic PagePaolo Caliari, with Tintoretto, succeeded Titian as the chief artist of 16c. Venice. Born in Verona, as his popular name, Veronese, indicates, he was trained there by a local painter, Antonio Badile, before moving to Venice about the age of 23.
Lavinia Fontana by Caroline MurphyWhen Artemisia Gentileschi, the best-remembered woman Renaissance painter, was born, Lavinia Fontana was already an established and prolific Bologna-based painter celebrated throughout Europe. Art historian Murphy is the first to write an in-depth, English-language treatise on heretofore overlooked Fontana and her world, and the resulting finely illustrated volume is exhilarating. The first female artist "to attain professional success, not in court or convent, but in direct competition with male artists in her own city," Lavinia, like Artemisia, was the daughter of a painter, Prospero. Murphy convincingly argues that Prospero's ambitions exceeded his talents and means, leading to his pragmatic decision to encourage his younger daughter to take up the brush and support their struggling family. The rapid evolution of her technical abilities and the deepening of her sensibility are impressive feats to follow as Murphy recounts Lavinia's unconventional life and marriage, and marvels over her ability to paint nonstop in spite of 11 pregnancies. From her sometimes kitschy, sometimes elegant devotional paintings to her superb portraits of Bolognese scholars and noblewomen to her compassionate portraits of widows and children, Fontana documented and enriched her times, and now Murphy's portrait of this gifted and triumphant sixteenth-century woman painter enhances ours. --Donna Seaman
Call Number: ND623.F595M87 2003
Publication Date: 2003
c.1545-1554 Perseus with the Head of Medusa (Benvenuto Cellini)