Relevant bibliographies by topics / Renaissance art history

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Renaissance art history'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Renaissance art history"

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HARTT, FREDERICK, and ROBERT ORME. "HISTORY OF ITALIAN RENAISSANCE ART." Art Book 1, no. 3 (June 1994): 17b. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00134.x.

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Wilson, Robin, and Florence Fasanelli. "Renaissance Art." Mathematical Intelligencer 22, no. 1 (December 2000): 80. http://dx.doi.org/10.1007/bf03024451.

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James, Sara Nair, Gabriele Neher, and Rupert Shepherd. "Revaluing Renaissance Art." Sixteenth Century Journal 33, no. 2 (2002): 471. http://dx.doi.org/10.2307/4143918.

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Cibelli, Deborah H., Carol M. Richardson, Kim W. Woods, Carol M. Richardson, and Angeliki Lymberopoulou. "Locating Renaissance Art." Sixteenth Century Journal 39, no. 3 (October 1, 2008): 930. http://dx.doi.org/10.2307/20479121.

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Weed, Stanley E., and Kim Woods. "Making Renaissance Art." Sixteenth Century Journal 39, no. 4 (December 1, 2008): 1248. http://dx.doi.org/10.2307/20479230.

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Steele, Brian D. "Renaissance Art, Education, and History: An Art Historian's Perspective." Art Education 46, no. 2 (March 1993): 41. http://dx.doi.org/10.2307/3193375.

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Joost-Gaugier, Christiane, John T. Paoletti, and Gary M. Radke. "Art in Renaissance Italy." Sixteenth Century Journal 34, no. 1 (April 1, 2003): 163. http://dx.doi.org/10.2307/20061319.

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CHESSICK, RICHARD D. "History of Italian Renaissance Art, 5th ed." American Journal of Psychiatry 162, no. 12 (December 2005): 2415–17. http://dx.doi.org/10.1176/appi.ajp.162.12.2415.

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Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.
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Och, Marjorie A., and Mary Rogers. "Fashioning Identities in Renaissance Art." Sixteenth Century Journal 32, no. 3 (2001): 786. http://dx.doi.org/10.2307/2671517.

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Dissertations / Theses on the topic "Renaissance art history"

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Barry, Marie Porterfield. "Lesson 08: The Renaissance." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/9.

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This lesson covers artworks created during the Renaissance in Europe. It begins with a preface on artworks created prior to the Renaissance that focused on Christian ideology and iconography. Artists discussed include Botticelli, Donatello, Michelangelo, Bernini, and Leonardo da Vinci.
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Knotts, Robert Marvin. "Judith in Florentine Renaissance Art, 1425-1512." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1261076833.

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Kline, Jonathan Dunlap. "Christian Mysteries in the Italian Renaissance: Typology and Syncretism in the Art of the Italian Renaissance." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/4976.

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Art History
Ph.D.;
My dissertation studies the typological juxtaposition and syncretic incorporation of classical and Christian elements-subjects, motifs, and forms-in the art of the Italian Renaissance and the significant meaning of classical subjects and figures in such contexts. In this study, I analyze the interpretative modes applied to extra-Biblical and secular literature in the Italian Tre- and Quattrocento and the syncretic philosophies of the later Quattro- and early Cinquecento and reevaluate selected works of art from the Italian Renaissance in light of the period claims and beliefs that are evident from such a study. In summary, my dissertation considers the use of classical subjects, motifs, and forms in the art of the Italian Renaissance as a means to gloss or reveal aspects of Christian doctrine. In chapter 1, I respond to the paradigm proposed by Erwin Panofsky (Renaissance and Renascences) and establish a new criteria for understanding the difference between medieval and Renaissance perceptions of classical antiquity. Chapter 2 includes a study of the mythological scenes painted in the Cappella Nova of Orvieto Cathedral, which are here shown to gloss and reveal aspects of the developing Christian doctrine of Purgatory. In chapter 3, I study the Renaissance use of representational ambiguity as a means of signifying the propriety of pursuing an allegorical interpretation of a work and specifically address the typological significance of figures in Botticelli's Primavera. In chapter 4, I examine the philosophical concepts of prisci theologii and theologicae poetae and their significance in relation to the representation of classical figures in medieval and Renaissance works of art. This study provides the necessary background for a reevaluation of syncretic themes in Raphael's Stanza della Segnatura, which is the subject of the final chapter. In chapter 5, I identify classical figures in the frescoes of the Stanza della Segnatura-among them, Orpheus in the Parnassus and Plato and Aristotle in the Disputa-and offer a new interpretation of the iconographic program of the Stanza della Segnatura frescoes as a representation of the means by which participants in the Christian tradition, broadly conceived, approach God through the parallel paths of dialectic and moral philosophy.
Temple University--Theses
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Barry, Marie Porterfield. "Lesson 13: Mirrors in Renaissance and Baroque Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/14.

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Hayden, Margaret. "The Medici Example: How Power Creates Art and Art Creates Power." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3917.

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This project looks at two members of Florence’s Medici family, Cosimo il Vecchio (1389-1464) and Duke Cosimo I (1519-1574), in an attempt to assess how they used the patronage of art to facilitate their rule. By looking at their individual political representations through art, the specifics of their propagandist works and what form these pieces of art came, it is possible to analyze their respective rules. This analysis allows for a clearer understanding of how these two men, each in very different positions, found art as an ally for their political endeavors. While they were in power only one hundred years apart, they present uniquely different strategies for the purpose of creating and maintaining their power through the patronage of art.
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Barry, Marie Porterfield. "Lesson 09: Michelangelo- From High Renaissance to Mannerism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/10.

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Bokelman, Dorothy Jane. "Portraits in extremis : severed heads in Renaissance and Baroque portraiture /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402957196.

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Harari, Yuval Noah. "Renaissance military memoirs : war, history, and identity, 1450-1600 /." Woodbridge : Boydell Press, 2004. http://catalogue.bnf.fr/ark:/12148/cb392083492.

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Texte remanié de: Th. Ph. D.--Oxford--Jesus College, 2002. Titre de soutenance : History and I : war and the relations between history and personal identity in Renaissance military memoirs, c. 1450-1600.
Bibliogr. p. 205-218. Index.
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Barry, Marie Porterfield. "Lesson 10: The Northern Renaissance and Arnolfini Double Portrait." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/11.

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McCray, William Patrick. "The culture and technology of glass in Renaissance Venice." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290650.

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Venetian glass, especially that of the Renaissance, has been admired for centuries due to its quality workmanship and overall visual appeal. In addition, a certain mystique surrounds the glassmakers of Venice and their products. This dissertation research undertakes a comprehensive view of the culture and technology of Renaissance Venetian glass and glassmaking. Particular attention is paid to luxury vessel glass, especially those made of the "colorless" material typically referred to as cristallo. This segment of the industry is seen as the primary locus of substantial technological change. The primary question examined in this work is the nature of this technological change, specifically that observed in the Renaissance Venetian glass industry circa 1450-1550. After providing an appropriate social and economic context, a discussion of Venice's glass industry in the pre-Renaissance is given. Industry and guild trends and conditions which would be influential in later centuries are identified. In addition, the sudden expansion of Venice's glass production in the mid-15th century is described as a self-catalyzed phenomenon in response to prevailing cultural and economic conditions. Demand is identified as a necessary precursor to the production of luxury glass. Building on this concept, activities and behaviors relevant to demand, production, and distribution of Venetian glass are examined in depth. The interaction between the Renaissance consumer and producer is treated along with the position of Venice's glass industry in the overall culture and economy of the city. It is concluded that the technological changes observed in Venice's Renaissance luxury glass industry arose primarily out of perceived consumer demand. Social and economic circumstances particular to Renaissance Italy created an environment in which a technological development such as cristallo glass could take place. The success of the industry in the 15th and 16th centuries can be found in the fruitful interplay between consumers and producers, the manner in which the industry was organized, coupled with the skill of the Venetian glassmakers to make and work new glass compositions into a variety of desired objects.
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Books on the topic "Renaissance art history"

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G, Wilkins David, ed. History of Italian Renaissance art. 6th ed. Upper Saddle River, N.J: Prentice Hall, 2006.

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Gardner, Helen. Renaissance and Modern Art. 8th ed. San Diego: Harcourt Brace Jovanovich, 1986.

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Gardner, Helen. Renaissance and Modern Art. 8th ed. San Diego: Harcourt Brace Jovanovich, 1986.

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Emison, Patricia. Moving Pictures and Renaissance Art History. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724036.

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Film, like the printed imagery inaugurated during the Renaissance, spread ideas – not least the idea of the power of visual art – across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, from the 1920s to the mid-1960s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, between the demands of narrative and those of visual composition, spurred new ways of addressing the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates are part of the story told here.
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The renewal of pagan antiquity: Contributions to the cultural history of the European Renaissance. Los Angeles, CA: Getty Research Institute for the History of Art and the Humanities, 1999.

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1969-, Cole Michael Wayne, ed. A new history of Italian Renaissance art. London: Thames & Hudson, 2012.

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Gombrich, E. H. Gombrichon the Renaissance. 3rd ed. Oxford: Phaidon, 1993.

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Hartt, Frederick. History of Italian Renaissance art: Painting, sculpture, architecture. London: Thames and Hudson, 1987.

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G, Wilkins David, ed. History of Italian Renaissance art: Painting, sculpture, architecture. 4th ed. London: Thames & Hudson, 1994.

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G, Wilkins David, ed. History of Italian renaissance art: Painting, sculpture, architecture. 5th ed. Upper Saddle River, New Jersey: Prentice Hall, 2003.

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Book chapters on the topic "Renaissance art history"

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Warley, Christopher. "Art and History Then." In A Companion to Renaissance Poetry, 303–13. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118585184.ch22.

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Hinojosa, Lynne Walhout. "The Connoisseur and the Spiritual History of Art: Morelli and Berenson." In The Renaissance, English Cultural Nationalism, and Modernism, 1860–1920, 89–111. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230620995_5.

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Spongberg, Mary. "‘All Histories Are Against You’: Women and the History Men." In Writing Women’s History since the Renaissance, 34–59. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-0-230-20307-5_3.

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Johnson, Geraldine A. "9. Michelangelo: the birth of the artist and of art history." In Renaissance Art, 120–33. Oxford University Press, 2005. http://dx.doi.org/10.1093/actrade/9780192803542.003.0009.

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"Revaluing dress in history paintings for quattrocento Florence." In Revaluing Renaissance Art, 153–62. Routledge, 2017. http://dx.doi.org/10.4324/9781315187310-16.

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CHONG, Alan. "Crossroads of History and Art." In Art Hats in Renaissance City, 80–85. WORLD SCIENTIFIC, 2015. http://dx.doi.org/10.1142/9789814630788_0008.

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"La Renaissance et les Médicis we read that the end." In Art History as Cultural History, 67. Routledge, 2014. http://dx.doi.org/10.4324/9781315078571-14.

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Deanesly, Margaret. "The Carolingian Renaissance: Music and Art." In A History of Early Medieval Europe, 540–51. Routledge, 2019. http://dx.doi.org/10.4324/9780429061530-28.

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Tyson, John. "The Washington Renaissance." In The Routledge Companion to African American Art History, 119–32. Routledge, 2019. http://dx.doi.org/10.4324/9781351045193-12.

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"the entry of the idealising classical style in the painting of the early renaissance." In Art History as Cultural History, 17. Routledge, 2014. http://dx.doi.org/10.4324/9781315078571-6.

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Conference papers on the topic "Renaissance art history"

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Farrell, Orna. "(e)Portfolio: a history." In ASCILITE 2020: ASCILITE’s First Virtual Conference. University of New England, Armidale, 2020. http://dx.doi.org/10.14742/ascilite2020.0108.

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This paper traces the evolution of the concept of portfolio from the Renaissance to the present day. Over time the meaning of portfolio evolved from its origins as a case for holding loose papers to other contexts such as finance, government and education. Portfolios evolved from paper to electronic, from local network to the world wide web. The decade from 2000-2010 was a period when technology became part of mainstream society and educational technology become part of mainstream higher education, and portfolios became a ubiquitous assessment. From 2010-2020, a shift towards an emphasis on pedagogy and the student learning experience occurred in eportfolio research and practice. The history of (e)portfolio in higher education shows that the higher education system will continue to gradually evolve, incorporating concepts, technology and approaches that are compatible rather than transformative.
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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.

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A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
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Anders, Selena Kathleen. "Medieval Porticoes of Rome: New Methods and Technologies for Revealing Rome’s Architectural and Urban Heritage." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.4505.

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At the moment there are few comprehensive texts or instruments that allow architects, designers, historians, planners or even students the ability to understand the complex layers of a city’s urban fabric. As a result, this paper was prepared in order to be uploaded to a digital tool that allows for such exploration of the built environment. The transformation of the city of Rome is documented in a number of sources and as a result makes it the ideal city for study of architectural and urban evolution. As a case study in digital documentation this paper examines the medieval façade porticoes of Rome at three scales: urban, architectural, and detail. The identification and mapping of these structures, are shown together allowing one to examine them in relation to historic and present day city maps. In addition, their location is analyzed in relation to ancient Roman streets and historic processional routes, to observe the connection amongst their location and that of major thoroughfares of antiquity, the Middle Ages, and the Renaissance. At the architectural scale, the detailed documentation in plan and elevation reveal four distinct variations that existed in the use of the residential façade portico. At the scale of architectural detail, an inventory of reused architectural elements or spolia that make up the residential porticoes reveal the reuse of ancient Roman column shafts, bases and capitals as well as the medieval masons’ preference for the use of the Ionic capital in particular. This paper prepares a methodology for digital deployment of traditional scholarship focused on architecture and the built environment.
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