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Widely recognized in his own time for extraordinary architectural achievements, Leon Battista Alberti continues to influence his field more than 500 years later. This full-scale study of Alberti provides a biographical account of the Italian Renaissance architect, new reconstructions and interpretations of some of his buildings, and a detailed discussion of each of his building projects.

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Introducing the Moorer Mens Alberti-KN Indaco Blue Bomber Jacket. This stylish and versatile jacket from Moorer is a must-have for any fashion-forward man. Crafted with the utmost attention to detail, this bomber jacket features a sleek design and a rich indaco blue color. Perfect for adding a touch of sophistication to your casual or formal outfits. Shop now and elevate your wardrobe with this Moorer masterpiece.

Introducing the Moorer Mens Alberti-KN Indaco Blue Bomber Jacket. This stylish and versatile jacket from Moorer is a must-have for any fashion-forward man. Crafted with the utmost attention to detail, this bomber jacket features a sleek design and a rich indaco blue color. Perfect for adding a touch of sophistication to your casual or formal outfits. Shop now and elevate your wardrobe with this Moorer masterpiece.

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Widely recognized in his own time for extraordinary architectural achievements, Leon Battista Alberti continues to influence his field more than 500 years later. This full-scale study of Alberti provides a biographical account of the Italian Renaissance architect, new reconstructions and interpretations of some of his buildings, and a detailed discussion of each of his building projects.

Excerpt from Beati Alberti Magni Paradisus Animae Sive Libellus De VirtutibusAccipite quod dudum vestrum est, Beati Alberti Magni Opusculum mole qui dem exigtmm ac leve sed spiritu grande, sententiis grave.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Detailed architectural drawings, photographs, analyses, and an anthology of Alberti criticism furnish an overview of the theories and works of the Italian Renaissance architect and humanist

From the Renaissance idea of the painting as an open window to the nested windows and multiple images on today's cinema, television, and computer screens: a cultural history of the metaphoric, literal, and virtual window.As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices―"windows" full of moving images, texts, and icons―how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen.In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective―Alberti's metaphorical window―has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple 'windows' coexist and overlap, perspective may have met its end.In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.

In This Most Perfect Paradise is the first extensive study of the early Renaissance papacy and its architectural policy. During the pontificate of Nicholas V a new concept of the Church and the papacy's role and mission came into focus and found expression in the collaboration between the pope and the period's most brilliant architect and theorist, Leon Battista Alberti.Intending to convert the city into a magnificent sad visible representation of the newly constituted Church, the Pope and his architect produced the first city planning project based on modem concepts of the city and of urban planning. That individual buildings, and the entire city they formed, should be subjected to conscious design revealing an ideology was a new and lasting idea.Professor Wcstfall explores with remarkable thoroughness early Renaissance painting, sculpture, and architecture, as well as treatises on the arts and other humanist literature, to demonstrate that architecture had traditionally presented ideologica1 content. His study shows that many well-known works of art can take on a new meaning when viewed not only as stylistic phenomena but also as elements in a comprehensive civic culture. He expands an art historical subject to embrace an impressive knowledge of other historical disciplines, such as church history, intellectual history, the history of the city of Rome, literary history, theology, and medieval and renaissance philosophy.In This Most Perfect Paradise is a fundamental contribution to Renaissance studies and establishes a new and important point of departure for future studies of the history of the city.

Detailed architectural drawings, photographs, analyses, and an anthology of Alberti criticism furnish an overview of the theories and works of the Italian Renaissance architect and humanist

Honorable Mention, 2008 Katherine Singer Kovacs Book Award presented by the Society for Cinema and Media Studies. and 2007 Winner of the Phi Kappa Phi Faculty Recognition Award at University of Southern California. As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices—"windows" full of moving images, texts, and icons—how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective—Alberti's metaphorical window—has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple "windows" coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.

Leon Battista Alberti (1404-1472) was one of the most exciting figures of the Italian Renaissance. He wrote the first modern treatise on painting, the first modern manual of classical architecture, and a powerful set of "dialogues" about the princely families of Florence. But Alberti also made his own spectacular advances in the art of painting and in engineering, and was responsible for some of the most exciting architectural designs in Italy. In this volume, one of our most distinguished Renaissance scholars offers the superlative biography and cultural history that Alberti has long deserved. It is a compelling portrait of a mysterious and original intellectual.

Honorable Mention, 2008 Katherine Singer Kovacs Book Award presented by the Society for Cinema and Media Studies. and 2007 Winner of the Phi Kappa Phi Faculty Recognition Award at University of Southern California. As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices—"windows" full of moving images, texts, and icons—how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective—Alberti's metaphorical window—has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple "windows" coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.

A lucid biographical study of a key figure of European cultureLeon Battista Alberti (1404-72) was one of the most original, creative, and exciting figures of the Italian Renaissance. He wrote the first modern treatise on painting, the first modern manual of classical architecture, and a powerful set of "dialogues" about the princely families that dominated his home city of Florence. He rediscovered the forgotten aesthetics of classical architecture and described, in incomparably vivid terms, the artistic revolution in Florence that began what we now call the Renaissance. But Alberti was more than a mere chronicler--he practiced what he preached. He made spectacular advances in the art of painting and in engineering, and as an architect he was responsible for some of the most exciting buildings in Italy. Yet in spite of his central importance, work on Alberti has for the most part been confined to scholarly monographs. Here, one of our greatest Renaissance scholars offers the general book that Alberti has so long deserved. This is a compelling portrait of a mysterious, original, and highly unusual intellectual, and a colorful tableau of the cities and courts in which he lived and worked.

Leon Battista Alberti was one of the most important humanist scholars of the Italian Renaissance. Active in mid-fifteenth-century Florence, he was an architect, theorist, and author of texts on perspective and painting. Alberti's On Painting is a cardinal work that revolutionized Western art. In this volume, Rocco Sinisgalli presents a new English translation and critical examination of Alberti's seminal text. Dr. Sinisgalli reverses the received understanding of the relationship between the Italian and Latin versions of Alberti's treatise by demonstrating that Alberti wrote it first in Italian and then translated it into a polished Latin over the course of several decades. This volume is richly illustrated to help demonstrate how Alberti understood optics and art.

Leon Battista Alberti was one of the most important humanist scholars of the Italian Renaissance. Active in mid-fifteenth-century Florence, he was an architect, theorist, and author of texts on perspective and painting. Alberti's On Painting is a cardinal work that revolutionized Western art. In this volume, Rocco Sinisgalli presents a new English translation and critical examination of Alberti's seminal text. Dr. Sinisgalli reverses the received understanding of the relationship between the Italian and Latin versions of Alberti's treatise by demonstrating that Alberti wrote it first in Italian and then translated it into a polished Latin over the course of several decades. This volume is richly illustrated to help demonstrate how Alberti understood optics and art.

Homenaje a la mÁs temprana vocaciÁn de Rafael Alberti, mÁs tarde abandonada a favor de la poesÁa, A LA PINTURA ­poemario en el que la palabra sustituye a la pincelada, en unos casos fluida y ondulante, en otros contorsionada y llena de violentos contrastes­ consta de cincuenta y siete composiciones que integran un todo armÁ

Detailed architectural drawings, photographs, analyses, and an anthology of Alberti criticism furnish an overview of the theories and works of the Italian Renaissance architect and humanist

A black hardcover book with the title in gold on the spine. A glossy pictorial dust jacket in excellent condition. Illustrations on the front and back end papers. (9), X-XXV, 1-490 pp., 315 mostly-color illustrations and diagrams. In the pre-modern age in Europe, the architect built not merely with imagination, bricks and mortar, but with time, using vast quantities of duration as the means to erect monumental buildings that otherwise would have been impossible to achieve. Virtually all the great cathedrals of France and the rest of Europe were built by this deliberate practice, here given the name "Building-in-Time". It places an entirely new light on the major works of pre-modern Italy, from the Pisa cathedral group to the cathedrals of Milan, Venice and Siena, and from the monuments of fourteenth-century Florence to the new St Peter's. Even as this temporal regime was flourishing, the fifteenth-century Italian architect Leon Battista Alberti proposed a new one for architecture, in which time would ideally be excluded from the making of architecture ("Building-outside-Time"). Planning and building, which had always formed one fluid, imbricated process, were to be sharply divided, and the change that always came with time was to be excluded from architectural making. Contents: In Modern Oblivion: Rethinking Architecture, Time, and History; Regimes of Time Consciousness in Architectural Lifeworlds; Premodern Regimes of Architecture and Time; Building-in-Time in "Pre-Albertian" Italy; The Art of Building in Time: Florentine Practice; Reflections of Practice Aggrandizement and Authority in Building-in-Time; Cohabiting Temporalities of Architectural Practice in Brunelleschi; Alberti and Brunelleschi; Renaissance Temporalities After Alberti; Afterword: Crypto-Albertianism and the Oblivion of Building-in-Time. VG+: Very clean copy, appears seldom read. Has its dust jacket