This highly acclaimed volume examines the one firm bridge between the art of the humanists and the painters of the early Italian Renaissance: what Petrarch and other humanists wrote about painting. Baxandall surveys the main themes of their art criticism and describes how their language conditioned their insights into painting.
--This text refers to the
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Editorial Reviews
Review
"Extremely rewarding and stimulating."--Arts Review
"Mr. Baxandall does a great service in showing us what the early humanists' attitude to art was, and in providing us with a first-rate introduction to humanism itself." -- British Journal of Aesthetics
--This text refers to the Paperback edition.
Language Notes
Text: English, Greek, Latin
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9 of 9 people found the following review helpful:
4.0 out of 5 stars
challenging, but well worth it,
By A Customer
This review is from: Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition (Oxford-Warburg Studies) (Paperback)
Baxandall's analysis of the intersection of humanist literature and Renaissance aesthetics is truly innovative and insightful. Baxandall sets out to trace the developments of Renaissance 'art criticism' by looking at humanist texts and the various ways in which they address art. This it truly a new approach: one that merits the attention of all art historians as well as anyone who is generally interested in Renaissance art and/or culture.I will not deny it; this book is a challenging read. Baxandall includes numerous lengthy citations; including a 5-page 'quotation' from Petrarch's "De remedies utriusque fortunae" as well as an 8-page excerpt from Bartolomeo Fazio's "De viris illustribus." Luckily these longer citations are in translation. Baxandall has included a lengthy appendix which includes the original texts of twenty Latin and Greek treatises which are heavily cited. Baxandall does, however, frequently quote in Latin without providing a translation. If you do not know Latin I can image that the text will be doubling frustrating, however I still maintain that it is worth it. Baxandall's insights are refreshing. This book is the product of years of study and thought by one of the brightest minds in art history. His ideas call into question our mode of approaching Renaissance art, challenging us to confront the artifacts on their own terms, much as he does in his delightful work "Painting and Experience in Fifteenth-Century Italy." Only in this way can we hope to uncover many of the aspects of Renaissance art which have hitherto fore been ignored by art historians.
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First Sentence:
'HUMANIST' is not a word the early Italian humanists themselves knew; neither is 'humanism'. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
utriusque fortunae, humanist points, early humanists, humanist criticism, periodic sentence, humanist discourse Key Phrases - Capitalized Phrases (CAPs): (learn more)
Lorenzo Valla, Leonardo Bruni, Gentile da Fabriano, Vatican Library, Coluccio Salutati, New York, Manuel Chrysoloras, Bartolomeo Fazio, John the Baptist, Vittorino da Feltre, Filippo Villani, Gasparino Barzizza, George of Trebizond, Guarino of Verona, Middle Ages, Leonardo Giustiniani, National Gallery, Simone Martini, Biblioteca Ambrosiana, Biblioteca Marciana, Biblioteca Nazionale, Ciceronian Latin, Giotto's Navicella, Guarino Veronese, Pier Paolo Vergerio New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
'HUMANIST' is not a word the early Italian humanists themselves knew; neither is 'humanism'. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
utriusque fortunae, humanist points, early humanists, humanist criticism, periodic sentence, humanist discourse Key Phrases - Capitalized Phrases (CAPs): (learn more)
Lorenzo Valla, Leonardo Bruni, Gentile da Fabriano, Vatican Library, Coluccio Salutati, New York, Manuel Chrysoloras, Bartolomeo Fazio, John the Baptist, Vittorino da Feltre, Filippo Villani, Gasparino Barzizza, George of Trebizond, Guarino of Verona, Middle Ages, Leonardo Giustiniani, National Gallery, Simone Martini, Biblioteca Ambrosiana, Biblioteca Marciana, Biblioteca Nazionale, Ciceronian Latin, Giotto's Navicella, Guarino Veronese, Pier Paolo Vergerio New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 21
books:
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41
books
cite this book:
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- On Painting (Penguin Classics) by Leon Battista Alberti on page 50, page 119, and page 123
- The Renaissance in Historical Thought (RSART: Renaissance Society of America Reprint Text Series) by Wallace K. Ferguson on page 78, and page 125
- Renaissance Thought (Torchbooks) (v. 1) by Oscar Kristeller on page 1, and Back Matter
- Medieval Rhetoric and Poetic (to 1400) by Charles S. Baldwin on page 33
- Elizabethan Critical Essays by George Gregory Smith on page 5
See all 21 books this book cites
- The Eloquent Body: Dance and Humanist Culture in Fifteenth-Century Italy by Jennifer Nevile on 4 pages
- The Cambridge Companion to Renaissance Humanism (Cambridge Companions to Literature) by Jill Kraye on page 99, page 185, and Back Matter
- Papal Patronage and the Music of St. Peter's, 1380-1513 by Christopher A. Reynolds on page 282, page 313, and Back Matter
- Cassone Painting, Humanism and Gender in Early Modern Italy (Cambridge Studies in New Art History and Criticism) by Cristelle L. Baskins in Back Matter (1), Back Matter (2), and Back Matter (3)
- Giotto as an Historical and Literary Figure : Miscellaneous Specialized Studies (Giotto and the World of Early Italian Art: An Anthology of Literaure) by Andrew Ladis on page 195, and Back Matter
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