The Florentine Academy and the Early Modern State R^ constitutes a genealogy of the academic, confraternal, and guild practices of artists in Florence, from the mid-sixteenth to the mid-eighteenth centuries. It examines the institution's everyday practices, for which its daily transactions, expenses, sources of income, and seemingly inconsequential rulings provides an index, along with its official statutes, public mandates, and "extraordinary" proceedings, many of which have remained unpublished until now. Together with theoretical, critical and historiographical primary sources, these documents provide a picture of the operations and work of the Florentine Academy and the processes that governed the gestures, dictated the behaviors, and shaped the thought of those who moved within its walls. Looking diachronically at identity formation within a particular institution of the Medici state, this study also examines the connections between the Academy and an emergent public sphere within which modern bourgeois subjectivity took shape.

This book, produced in conjunction with a traveling exhibition, offers a wealth of original research into many rarely seen and unpublished works by such famed artists as Giovanni Benedetto Castiglione, Jacopo Palma il Giovane, Parmigianino, Giovanni Battista Piranesi, Pietro Testa, and Giambattista Tiepolo. The entries, by Robert Randolf Coleman and Babette Bohn, draw on a wide range of primary source material and include a sensitive discussion of both artist and object, accompanied by color illustrations and numerous comparative examples. In addition, the lively introduction by Giancarlo Fiorenza, Pierre Daura Curator of European Art at the Georgia Museum of Art, outlines the theory and practice of disegno (drawing) in artists' workshops and academies.

Per la edizione nazionale delle opere di Galileo Galilei. Esposizione e disegno di Antonio Favaro

Per la edizione nazionale delle opere di Galileo Galilei. Esposizione e disegno di Antonio Favaro

In 1979 the fanciful Italian artist and designer Bruno Munari donated part of his personal archive to the Center for the Study of Archives and Communication in Parma--a sort of encyclopedic collection of solutions for possible answers. From early drawings for his abstract paintings of the 1930s, to the Negative-Positive works, to graphic sketches for publishing projects, to original editions of his games, this volume collects projects from across Munari's career, many of them previously unpublished. From the Bauhaus to Piaget's psychological theories, Munari assimilated many visual and conceptual trends of the twentieth century, reproposing them in new, highly creative and playful ways. Featuring more than 500 images, this volume contains essays, an interview and a bibliography of the most important publications on Munari's works.

Italian Modernist painter Mario Sironi's (1885-1961) paintings spoke through a unique palette of incessantly dialectical lights and shadows, blacks and whites, browns and ochres. Reproduced here is a selection of works that, with the exception of his futurist period, span his entire career: the urban landscapes of the 1920s, compositions of the 1930s, and explosions of elaborate multiple works of the 1940s and 1950s.

The beginnings of modern design occurred in Renaissance Italy, which first fostered the concept that all the arts are based on universal principles of design. As the medieval separation of crafts broke down, Renaissance painters, sculptors, and architects created designs in a variety of media to be carried out by others. With the separation of design from actual execution, drawing became the critical means of communicating between artist and artisan. The promotion of artist as designer and the rise of drawing as an independent art form were inextricably intertwined. Design (the foundation of art) and drawing (the cornerstone of design) were so intimately linked as to share the same designation--disegno. In introducing audiences to the origins of modern design, this catalog and the exhibitions associated with it seek to elevate Renaissance drawings for decorative arts objects to a new level commensurate with the fine arts.

This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.

The primary goal of Ludovico Carracci and the Art of Drawing is to provide a ground-breaking model for a new kind of book on Italian drawings. In addition to covering the traditional scholarly terrain of chronology, style, and connoisseurship, this book utilizes up-to-date art historical methods, including considerations of the historical context of Bologna, its impact on Ludovico's art, and a new portrayal of the role of women and women artists in the city. He was a prolific draftsman who produced over 300 extant drawings. His drawings offer the key to his artistic personality, because he conceived his original subjects and planned his dramatic compositions in these sheets. Like most Italian artists of the early modern period, Ludovico developed his ideas in drawings and began painting only after his conceptions had been finalized. Thus his drawings reveal how he thought, how his ideas changed, and which features of a composition were most important or challenging to his creative imagination. The Carracci have always been considered some of the most important draftsmen in Italian art, for their revival of drawing the human figure from life in the course of designing paintings. But Ludovico's drawings were not only preparatory studies for pictures. He was also an innovator in developing finished compositional drawings that were produced as works of art in their own right, made for sale to a new audience of private collectors in Bologna.