By David Young Kim
This crucial and cutting edge booklet examines artists’ mobility as a serious element of Italian Renaissance artwork. it really is popular that many eminent artists reminiscent of Cimabue, Giotto, Donatello, Lotto, Michelangelo, Raphael, and Titian traveled. This e-book is the 1st to contemplate the sixteenth-century literary descriptions in their trips relating to the bigger Renaissance discourse touching on mobility, geography, the act of construction, and selfhood.
David younger Kim rigorously explores correct issues in Giorgio Vasari’s huge Lives of the Artists, specifically how kind used to be understood to sign in an artist’s come upon with position. via new readings of severe rules, long-standing local prejudices, and whole biographies, The touring Artist within the Italian Renaissance presents a groundbreaking case for the importance of mobility within the interpretation of artwork and the broader self-discipline of artwork background.
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Extra resources for The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
Felice Guiducci, vol. 773 (1538– 43), fol. 556r. 15 16 Vo l u m e E d i t o r ’s I n t r o d u c t i o n associated with this valuable Urbino townhouse, which Giovan’Antonio had rented from the local bishop and intended to pass on to his children. ” 19 A family of intellectuals like the Battiferri, the Coccapani had settled by the Quattrocento in Carpi, a satellite town near Modena in territory controlled by the Este dukes of Ferrara. Brief biographies of several who would have been Laura’s contemporaries survive in the encyclopedia by Modena’s eighteenth-century polymath Girolamo Tiraboschi.
9 9. Autograph letter from Laura Battiferra degli Ammannati to Benedetto Varchi of January 27, 1556 [ϭ1557 modern style]. 1). Photo: Biblioteca Nazionale, Florence. 10. Autograph letter from Laura Battiferra to Duke Guidobaldo II Della Rovere with acknowledgment dated Urbino, October 23, 1559. Photo: Archivio di Stato, Florence. Vo l u m e E d i t o r ’s I n t r o d u c t i o n trarchismo that leads as a transition into her later period, roughly the last two decades of her life, when her emphasis shifts from profane to sacred under new post-Tridentine esthetic ideals.
ASF, Comp. Soppr. da Leopoldo, ﬁlza 238, fols. 155r–156r and 170r on the rental renewals of 1533 and 1540 with Maddalena Coccapani’s name and references to Giovan’Antonio as the children’s tutor (preceptor). This seems to be a different property from the house purchased by Jacopo Battiferri in 1462 in the Via Maia. 20. For the Coccapani family of Carpi, see Girolamo Tiraboschi, Biblioteca Modenese, 6 vols. (Modena: Società Tipograﬁca, 1781–86), 1: 40 –53. v. ” 21. Giovan’Antonio Battiferro’s will, dictated on his deathbed in the house at the Portuguese Arch, survives in the ASF, Comp.