The fifteenth-century Italian artist Piero della Francesca painted a familiar world. Roads wind through hilly landscapes, run past farms, sheds, barns, and villages. This is the world in which Piero lived. At the same time, Piero’s paintings depict a world that is distant. The subjects of his pictures are often Christian and that means that their setting is the Holy Land, a place Piero had never visited. The Realism of Piero della Francesca studies this paradoxical aspect of Piero’s art. It tells the story of an artist who could think of the local churches, palaces, and landscapes in and around his hometown of Sansepolcro as miraculously built replicas of the monuments of Jerusalem. Piero’s application of perspective, to which he devoted a long treatise, was meant to convince his contemporaries that his paintings report on things that Piero actually observed. Piero’s methodical way of painting seems to have offered no room for his own fantasy. His art looks deliberately styleless. This book uncovers a world in which painting needed to validate itself by cultivating the illusion that it reported on things observed instead of things imagined by the artist. Piero’s painting claimed truth in a world of increasing uncertainties.

Largely neglected for the four centuries after his death, the fifteenth century Italian artist Piero della Francesca is now seen to embody the fullest expression of the Renaissance perspective painter, raising him to an artistic stature comparable with that of Leonardo da Vinci and Michelangelo. But who was Piero, and how did he become the person and artist that he was? Until now, in spite of the great interest in his work, these questions have remained largely unanswered. Piero della Francesca: Artist and Man puts that situation right, integrating the story of Piero's artistic and mathematical achievements with the full chronicle of his life for the first time. Fortified by the discovery of over one hundred previously unknown documents, most unearthed by the author himself, James R. Banker at last brings this fascinating Renaissance enigma to life. The book presents us with Piero's friends, family, and collaborators, all set against the social background of the various cities and courts in which he lived - from the Tuscan commune of Sansepolcro in which he grew up, to Renaissance Florence, Ferrara, Ancona, Rimini, Rome, Arezzo, and Urbino, and eventually back to his home town for the final years of his life. As Banker shows, the cultural contexts in which Piero lived are crucial for understanding both the man and his paintings. From early masterpieces such as the Baptism of Christ through to later, Flemish-influenced works such as the Nativity, we gain a fascinating insight into how Piero's art developed over time, alongside his growing achievements in geometry in the later decades of his life. Along the way, the book addresses some persistent myths about this apparently most elusive of artists. As well as establishing a convincing case to clear up the long controversy over the year of Piero's birth, there are also answers to some big questions about the date of some of his major works, and a persuasive new interpretation of the much-debated Flagellation of Christ. This book is for all those who wish to know about the development of Piero as man, artist, and scholar, rather than simply to see him through a series of isolated great works. What emerges is a thoroughly intriguing Renaissance individual, firmly embedded in his social milieu, but forging an historic identity through his profound artistic and mathematical achievements.

“Lively history. . . . Show[s] double entry’s role in the creation of the accounting profession, and even of capitalism itself.”—The New Yorker Filled with colorful characters and history, Double Entry takes us from the ancient origins of accounting in Mesopotamia to the frontiers of modern finance. At the heart of the story is double-entry bookkeeping: the first system that allowed merchants to actually measure the worth of their businesses. Luca Pacioli—monk, mathematician, alchemist, and friend of Leonardo da Vinci—incorporated Arabic mathematics to formulate a system that could work across all trades and nations. As Jane Gleeson-White reveals, double-entry accounting was nothing short of revolutionary: it fueled the Renaissance, enabled capitalism to flourish, and created the global economy. John Maynard Keynes would use it to calculate GDP, the measure of a nation’s wealth. Yet double-entry accounting has had its failures. With the costs of sudden corporate collapses such as Enron and Lehman Brothers, and its disregard of environmental and human costs, the time may have come to re-create it for the future.

Richly illustrated, and featuring detailed descriptions of works by pivotal figures in the Italian Renaissance, this enlightening volume traces the development of art and architecture throughout the Italian peninsula in the fifteenth and sixteenth centuries. A smart, elegant, and jargon-free analysis of the Italian Renaissance – what it was, what it means, and why we should study it Provides a sustained discussion of many great works of Renaissance art that will significantly enhance readers’ understanding of the period Focuses on Renaissance art and architecture as it developed throughout the Italian peninsula, from Venice to Sicily Situates the Italian Renaissance in the wider context of the history of art Includes detailed interpretation of works by a host of pivotal Renaissance artists, both well and lesser known

A portrait of the artist as a young man, an examination of the influence of his hometown

A sweeping and magisterial four-hundred-year history of both the city and the people who gave birth to the Renaissance. Between the birth of Dante in 1265 and the death of Galileo in 1642, something happened that transformed the entire culture of western civilization. Painting, sculpture, and architecture would all visibly change in such a striking fashion that there could be no going back on what had taken place. Likewise, the thought and self-conception of humanity would take on a completely new aspect. Sciences would be born—or emerge in an entirely new guise. The ideas that broke this mold began, and continued to flourish, in the city of Florence in northern central Italy. These ideas, which placed an increasing emphasis on the development of our common humanity—rather than other-worldly spirituality—coalesced in what came to be known as humanism. This philosophy and its new ideas would eventually spread across Italy, yet wherever they took hold they would retain an element essential to their origin. And as they spread further across Europe, this element would remain. Transformations of human culture throughout western history have remained indelibly stamped by their origins. The Reformation would always retain something of central and northern Germany. The Industrial Revolution soon outgrew its British origins, yet also retained something of its original template. Closer to the present, the IT revolution that began in Silicon Valley remains indelibly colored by its Californian origins. Paul Strathern shows how Florence, and the Florentines themselves, played a similarly unique and transformative role in the Renaissance.

A world list of books in the English language.

While much has been written on Marcel Duchamp - one of the twentieth century's most beguiling artists - the subject of his flirtation with architecture seems to have been largely overlooked. Yet, in the carefully arranged plans and sections organising the blueprint of desire in the Large Glass, his numerous pieces replicating architectural fragments, and his involvement in designing exhibitions, Duchamp's fascination with architectural design is clearly evident. As his unconventional architectural influences - Niceron, Lequeu and Kiesler - and diverse legacy - Tschumi, OMA, Webb, Diller + Scofidio and Nicholson - indicate, Duchamp was not as much interested in 'built' architecture as he was in the architecture of desire, re-constructing the imagination through drawing and testing the boundaries between reality and its aesthetic and philosophical possibilities. Marcel Duchamp and the Architecture of Desire examines the link between architectural thinking and Duchamp's work. By employing design, drawing and making - the tools of the architect - Haralambidou performs an architectural analysis of Duchamp’s final enigmatic work Given: 1. The Waterfall, 2. The Illuminating Gas... demonstrating an innovative research methodology able to grasp meaning beyond textual analysis. This novel reading of his ideas and methods adds to, but also challenges, other art-historical interpretations. Through three main themes - allegory, visuality and desire - the book defines and theorises an alternative drawing practice positioned between art and architecture that predates and includes Duchamp.