Through the works of the major fifteenth-century draughtsmen - Pisanello, Jacopo Bellini, Pollaiuolo, Ghirlandaio, Carpaccio and Leonardo da Vinci - Francis Ames-Lewis then explores new types of drawing evolved during the century: the free sketch contrasting with the frozen control of the model-book, the exploratory study of the nude, the preparatory compositional sketch and the cartoon.

"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.

This sumptuously illustrated catalogue charts the history of drawing in Italy from 1400, just prior to the emergence in Florence of the classically inspired naturalism of the Renaissance style, to around 1510 when Michelangelo, Raphael and Titian were on the verge of taking the innovations of earlier masters, such as Leonardo and Pollaiuolo, in a new direction. The book highlights the key role played by drawing in artistic teaching and in how artists studied the human body and the natural world. Aspects of regional difference, the development of new drawing techniques and classes of graphic work, such as finished presentation pieces to impress patrons, are also explored. An extended introduction focusing on how and why artists made drawings, with a special emphasis on the pivotal role of Leonardo, is richly illustrated with examples from the two collections that elucidate the technique and function of the works. This is followed by catalogue entries for just over 100 drawings where discussion of their function and significance is supported by comparative illustrations of related works, such as paintings.

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.

An Exhibition of Early Renaissance Drawings from Collections in Great Britain held at the University Art Gallery, Nottingham, 12 February to 15 May 1983 - Techniques - Modelbooks & sketchbooks - The draped figure - The nude figure - Biographies include: Gozzoli, Leonardo da Vinci, Filippo Lippi, Mantegna, Bellini etc.

This study is the first to examine the relationship between art and violence in 15th-century Florence, exposing the underbelly of a period more often celebrated for enlightened and progressive ideas. Renaissance Florentines were constantly subjected to the sight of violence, whether in carefully staged rituals of execution or images of the suffering inflicted on Christ. There was nothing new in this culture of pain, unlike the aesthetic of violence that developed towards the end of the 15th century. It emerged in the work of artists such as Piero di Cosimo, Bertoldo di Giovanni, Antonio del Pollaiuolo, and the young Michelangelo. Inspired by the art of antiquity, they painted, engraved, and sculpted images of deadly battles, ultimately normalizing representations of brutal violence. Drawing on work in social and literary history, as well as art history, Scott Nethersole sheds light on the relationship between these Renaissance images, violence, and ideas of artistic invention and authorship.

"This book provides a survey of European painting between 1260 and 1510, in both northern and southern Europe, based largely on the National Gallery collection ... some 70 of the finest and best known paintings in the Gallery are examined in detail"--Cover.

The first catalogue to survey the Morgan?s collection of Italian Renaissance drawings, this monumental study also constitutes an introduction to Italian Renaissance draftsmanship for students and enthusiasts. It includes introductory essays on drawing in Renaissance Italy and on the formation of the Morgan?s collection. More than 120 detailed catalogue entries offer highly focused explorations of individual sheets, but these are grouped into chapters with introductory essays that provide context on key moments in the evolution of Renaissance drawing and on the distinct characteristics of different regional schools.00The related exhibition 'Invention and Design: Early Italian Drawings at the Morgan', organized by John Marciari, is on view February 15 through May 19, 2019. While the newly published catalogue covers drawings from around 1350?1600, the exhibition focuses on the earlier material, illuminating the origins and evolution of Italian drawing by artists born before 1500.00Exhibition: Pierpont Morgan Library, New York, USA (15.02.-193.05.2019).

Published in conjunction with an exhibition held at the Bode-Museum, Berlin, Aug. 25-Nov. 20, 2011, and at the Metropolitan Museum of Art, New York, Dec. 21, 2011-Mar. 18, 2012.

'In a subject of this magnitude, the author's coverage is impeccable ... Patronage in Renaissance Italy is an absolute must.' - The Art Book A perfect read for art historians and their students and for lovers of Renaissance art and civilization. In this first comprehensive study of patrons in the Italian quattrocento, Mary Hollingsworth shows how the patron - rather than the artist - carefully controlled both subject and medium in artistic creation. In a competitive and violent age, she explains, image and ostentation were essential statements of the patron's power. As a result, perceived cost became more important than artistic quality (and buildings, bronze, or tapestry were considered more eloquent statements than cheaper marble or fresco). Since Christian teaching frowned on wealth and power, money also had to be spent on religious endowments made in expiation. But here too the patron was in control, and used the arts and other means to express religious belief, not aesthetic sensibility. Artists in the early Renaissance were employed as craftsmen, Hollingsworth concludes, and only late in the century did their relations with patrons start to adopt a pattern we might recognize today. Praise for Mary Hollingsworth: 'Many readers, specialists and non-specialists alike, will welcome this book as a reliable and straightforward introduction to an important and interesting subject' - Literary Review 'She writes authoritatively, drawing on a vast store of knowledge' - Frances Spalding, The Sunday Times 'A thorough, readable and skilfully crafted survey' - Burlington Magazine 'This book will be of interest to anyone who looks at art in fifteenth-century Italy [and] will be particularly salutary for anyone who teaches or studies art history.' - Apollo Mary Hollingsworth is an academic and an expert in Renaissance art and architecture. Her published works include The Medici, The Borgias, and The Cardinal's Hat.