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Text: English (translation)
Original Language: Italian
Original Language: Italian
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46 of 47 people found the following review helpful:
4.0 out of 5 stars
Renaissance Crosscurrents,
By
This review is from: Renaissance Venice and the North: Crosscurrents in the Time of Durer, Bellini, and Titian (Hardcover)
When I was a kid, getting art books from the public library, there were dozens of books about the Italian Renaissance and only one about the Renaissance in the north. Van Eyck, Van der Weyden, Memling, all of them were crammed together in one book and called by the derogatory-sounding name of "Flemish Primitives". Happily, new books in recent years have begun to give the northern painters their due. Books by Dirk de Vos, Otto Pacht, and a recent catalog from the Metropolitan Museum of Art in New York ("Van Eyck to Bruegel"), among others, have given us the chance to see splendid reproductions of some of the most enchanting, jewel-like paintings in the world. Recent books on Gerard David and Petrus Christus, also from the Metropolitan, have even turned the spotlight on these less well-known painters who can easily come to win a place in your list of favorites. Still, though, there was a strong sense that North was North and South was South and never the twain would meet. That idea has been eroding under recent scholarship, however, as researchers have begun to make clear the influences and crosscurrents that occurred between Italy and the north countries of Europe. More than some of us might have guessed, there was a lot of exchange going on. Painters from Durer to Bruegel travelled to Italy to learn what they could of the traditions there, and painters as thoroughly Italian as Raphael and Botticelli took ideas from what they knew of the north. These exchanges have now been very thoroughly spelled out in a new book from Rizzoli that accompanied a recent exhibition in Venice. It is a huge thick block of a book, with 210 color plates and hundreds -- possibly thousands -- of black and white reproductions of drawings, prints, etc., -- anything that sheds light on how artistic ideas travelled up and down over the Alps. The print is small, and comes four columns to a page in some spots, with copious footnotes. In other words, it seems as if the editors of this book have taken on the ambitious task of filling in a fascinating blank in the history of art by pouring everything they know into one gigantic book. If either the Italian or the Northern Renaissance, or how the two rubbed together, is of interest to you, this book will fascinate you with details, comparisons, and unexpected connections. It's sad to say that sometimes the reproductions are not what they could be. Many are much darker than the original paintings. This is the first time I have seen a reproduction of Giovanni Bellini's Pieta since it was cleaned, and it is looking very good indeed, but the photo of the Van der Weyden Lamentation on the preceding page is badly out of focus. If you are looking for gorgeous lusciousness in an art book, this would not be the one for you. For sheer quantity and historical interest, though, this is a prize.
5.0 out of 5 stars
Book Nitty-Gritty,
By Theseus "theseus" (US of A) - See all my reviews
This review is from: Renaissance Venice and the North: Crosscurrents in the Time of Durer, Bellini, and Titian (Hardcover)
A big, solid book from Rizzoli. Hardback: cloth over boards with sewn binding. Dustjacket.
704 pp. 8 pounds. Color illustrations throughout. Appendix, 22 p Bibliography, Index of Names, Index of Works. TABLE OF CONTENTS Venice: Where North Meets South The Renaissance: A European Phenomenon Venice and the Low Countries: Commercial Contacts and Intellectual Inspirations Venice and Germany: Commercial Contacts and Intellectual Inspirations The Artistic Heritage of the North Working Abroad: Northern Artists in the Venetian Ambient Across the Alps and To the Lagoon The Fondaco dei Tedeschi The Lure of the North: Netherlandish Art in Venetian Collections Painting Techniques in Renaissance Venice Genre and Meaning Portraiture in Renaissance Venice Flemish and Dutch Artists in Venetian Workshops: The Case of Jacopo Tintoretto Mantegna and the Role of Prints Northern Prints and Printmaking Venice and Augsburg: Architecture and Sculpture in the 16th Century Prelude Early Venetian Renaissance Painting and the Ars Nova of the Low Countries Venice and Durer Crosscurrents with Germany: The Spread of the Venetian Renaissance Landscape and Figure in Early 16th Century Venice Titian and the North Low Life and Landscape: minor pictura in Late 16th Century Venice Augsburg, Prague, and Venice at the End of the Century
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