By Cordelia Warr, Janis Elliott
Frequently overshadowed via the towns of Florence and Rome in art-historical literature, this quantity argues for the significance of Naples as an inventive and cultural centre, demonstrating the breadth and wealth of inventive event in the urban.
- Generously illustrated with a few illustrations particularly commissioned for this publication
- Questions the normal definitions of 'cultural centres' that have ended in the overlook of Naples as a centre of inventive value
- A major addition to the English-language scholarship on artwork in Naples
Chapter 1 creation: Reassessing Naples 1266–1713 (pages 1–15): Cordelia Warr and Janis Elliott
Chapter 2 The North seems South: Giorgio Vasari and early smooth visible tradition within the country of Naples (pages 16–37): Aislinn Loconte
Chapter three the increase of the court docket Artist: Cavallini and Giotto in Fourteenth?Century Naples (pages 38–61): Cathleen A. Fleck
Chapter four The neighborhood Eye: Formal and Social differences in past due Quattrocento Neapolitan Tombs (pages 62–82): Tanja Michalsky
Chapter five construction in neighborhood All'Antica sort: The Palace of Diomede Carafa in Naples (pages 83–100): Bianca de Divitiis
Chapter 6 From Social advantage to Revetted inside: Giovanni Antonio Dosio and Marble Inlay in Rome, Florence, and Naples (pages 101–124): John Nicholas Napoli
Chapter 7 ‘The Face is a replicate of the Soul’: Frontispieces and the construction of Sanctity in Post?Tridentine Naples (pages 125–151): Helen Hills
Chapter eight Patronage, criteria and Transfert Culturel: Naples among paintings background and Social technological know-how conception (pages 152–175): Nicolas Bock
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Extra resources for Art and Architecture in Naples, 1266-1713
Vasari, Le vite, vol. 3, 3– 19. For further discussion of the structure of Vasari’s text, see Rubin, Giorgio Vasari, 1–7. Eric Fernie, Art History and its Methods. A Critical Anthology, London, 1995, 26. On Cavallini, see Alessandro Tomei, Pietro Cavallini, Milan, 2000, 120–33; and Cathleen Fleck, ‘The Rise of the Court Artist: Cavallini and Giotto in Fourteenth-Century Naples’, in this volume. I thank Cathleen Fleck for providing me with a copy of her chapter prior to publication. On Tino di Camaino, see Ottavio Morisani, Tino di Camaino a Napoli, Naples, 1945; Julian Gardner, ‘A Princess among Prelates: A Fourteenth-Century Neapolitan Tomb and some Northern Relations’, Ro¨misches Jahrbuch fu.
Eric Fernie, Art History and its Methods. A Critical Anthology, London, 1995, 26. On Cavallini, see Alessandro Tomei, Pietro Cavallini, Milan, 2000, 120–33; and Cathleen Fleck, ‘The Rise of the Court Artist: Cavallini and Giotto in Fourteenth-Century Naples’, in this volume. I thank Cathleen Fleck for providing me with a copy of her chapter prior to publication. On Tino di Camaino, see Ottavio Morisani, Tino di Camaino a Napoli, Naples, 1945; Julian Gardner, ‘A Princess among Prelates: A Fourteenth-Century Neapolitan Tomb and some Northern Relations’, Ro¨misches Jahrbuch fu.
Photo: r Luciano Pedicini/Archivio dell’Arte. 71 The members of the Medici dynasty are given a vital role in nurturing and supporting the artist and, in turn, they claim the honour and fame that Michelangelo and the Florentine artistic tradition brought upon the city. Vasari’s fashioning of an image of the Medici as consistent patrons engaged and interested in the arts was intended to praise his current patron, Duke Cosimo I de’ Medici, to whom he dedicated both the 1550 and 1568 versions of his text, yet it 26 T H E N O R T H L O O K S S O U T H : G I O R G I O VA S A R I A N D E A R L Y M O D E R N V I S U A L C U L T U R E 6 Raphael, Madonna del Pesce, c.
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