First published in 1998, this volume twelve scholars explore ways in which drawings were employed and appreciated in various European Cities form late medieval times, through the Renaissance and Reformation periods and into the early seventeenth century. The essayists examine the relationship between preparatory sketches and finished artworks in more durable and expensive materials, and consider the roles played by various drawing types, such as studies from different kinds of model and student copies from a master’s exemplar. They also investigate how drawings and their mechanically- reproduced equivalents- engravings, etchings and other forms of print – came to be collected for both practical and connoisseurial purposes, and how iconographical and stylistic inventiveness were linked to imaginative artistic interpretations of traditional subjects and to technical innovations in drawing and printmaking. Through diverse approaches to the study of artists’ attitudes and ambitions, the essays in Drawing 1400-1600 offer ways of appreciating the complex and fascinating history of the practice and theory of drawing over two centuries during which the expressive potential of the medium was realized in some of the greatest artistic statements of all time.

Discusses the techniques, uses, and aesthetics of medieval drawings; and reproduces work from more than fifty manuscripts produced between the ninth and early fourteenth century.

Making Copies in European Art 1400-1600 comprises sixteen essays that explore the form and function, manner and meaning of copies after Renaissance works of art. The authors construe copying as a method of exchange based in the theory and practice of imitation, and they investigate the artistic techniques that enabled and facilitated the production of copies. They also ask what patrons and collectors wanted from a copy, which characteristics of an artwork were considered copyable, and where and how copies were stored, studied, displayed, and circulated. Making Copies in European Art, in addition to studying many unfamiliar pictures, incorporates previously unpublished documentary materials.

With Italy at its centre, but encompassing the whole of Renaissance Europe, this evocative history challenges some of the popularly-held views on the Renaissance period. In particular, whilst always acknowledging the brilliance and exhuberance of Renaissance culture, Robin Kirkpatrick draws equal attention to the strangeness and often unresolved tensions that lay beneath the surface of that culture.Insisting on a European rather than purely Italian viewpoint, he embraces Renaissance thinking and culture in all its diversity: from Northern thinkers such as Cusanus, Luther and Calvin, to the painting of Van der Weyden and El Greco, and the music of the Flemish musicians, Josquin des Prez and Orlando Lassus. Special attention is also paid to the unique contribution made by Margueritte of Navarre to the development of humanist culture. The book concludes with a study of Shakespeare in which his plays are viewed as a searching critique of some of the main principles of Renaissance culture.

Incorporating original archival research and a series of critiques of recent accounts of economic development in pre-modern England, in The Origin of Capitalism in England, 1400-1600, Spencer Dimmock has produced a challenging and multi-layered account of a historical rupture in English feudal society which led to the first sustained transition to agrarian capitalism and consequent industrial revolution. Genuinely integrating political, social and economic themes, Spencer Dimmock views capitalism broadly as a form of society rather than narrowly as an economic system. He firmly locates its beginnings with conflicting social agencies in a closely defined historical context rather than with evolutionary and transhistorical commercial developments, and will thus stimulate a thorough reappraisal of current orthodoxies on the transition to capitalism.

"Many famous artworks of the Italian Renaissance were made to celebrate love, marriage, and family. They were the pinnacles of a tradition, dating from early in the era, of commemorating betrothals, marriages, and the birth of children by commissioning extraordinary objects - maiolica, glassware, jewels, textiles, paintings - that were often also exchanged as gifts. This volume is the first comprehensive survey of artworks arising from Renaissance rituals of love and marriage and makes a major contribution to our understanding of Renaissance art in its broader cultural context. The impressive range of works gathered in these pages extends from birth trays painted in the early fifteenth century to large canvases on mythological themes that Titian painted in the mid-1500s. Each work of art would have been recognized by contemporary viewers for its prescribed function within the private, domestic domain."--BOOK JACKET.

In Drawing and Painting in the Italian Renaissance Workshop, Carmen Bambach reassesses the role of artists and their assistants in the creation of monumental painting. Analyzing representative wall paintings and the many drawings related to the various stages of their production, Bambach convincingly reconstructs the development of workshop practice and design theory in the early modern period. Her exhaustive analysis of archaeological and textual evidence provides a timely and much-needed reassessment of the working methods of artists in one of the most vital periods in the history of art.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.