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one of the pioneering fresco cycles of th early Renaissance

Margherita of Cortona and the Lorenzetti is an interdisciplinary study that explores the role of art within the growth of the cult of civic saints in fourteenth-century Italy. It focuses on three versions of the story of Margherita of Cortona narrated on a panel painting, in her tomb reliefs, and in the extensive fresco cycle that once decorated her burial church and whose design is here attributed to Pietro and Ambrogio Lorenzetti. These images present an intriguing contrast with the text of Margherita’s Legenda, compiled by her Franciscan confessor, which primarily portrays the intensity of her spiritual life, her asceticism, and her visions.The three visual cycles together provide a sequence that demonstrates the changing significance of Margherita for the people of Cortona in the fifty years following her death. The role of that art—predominantly Sienese in workmanship—in shaping medieval perceptions of the saint is also considered. Profuse illustrations, much of them from new photographs specially made for this book, forms integral part of the argument.Margherita of Cortona and the Lorenzetti introduces an important group of works into the discussion of later medieval art and spirituality and demonstrates the value of visual evidence for our knowledge and understanding of civic religion and religious experience, especially among the laity, in the Italy of the communes.

79 S. : 92 Ill. ; 29 cm Alle Bücher & Medienartikel von Book Broker sind stets in gutem & sehr gutem gebrauchsfähigen Zustand. Dieser Artikel weist folgende Merkmale auf: Helle/saubere Seiten in fester Bindung. Leichte Gebrauchsspuren. Copyright: 1988. Sprache: Deutsch Gewicht in Gramm: 431 Taschenbuch, Größe: 20.6 x 0.8 x 27.4 cm

Margherita of Cortona and the Lorenzetti is an interdisciplinary study that explores the role of art within the growth of the cult of civic saints in fourteenth-century Italy. It focuses on three versions of the story of Margherita of Cortona narrated on a panel painting, in her tomb reliefs, and in the extensive fresco cycle that once decorated her burial church and whose design is here attributed to Pietro and Ambrogio Lorenzetti. These images present an intriguing contrast with the text of Margherita’s Legenda, compiled by her Franciscan confessor, which primarily portrays the intensity of her spiritual life, her asceticism, and her visions.The three visual cycles together provide a sequence that demonstrates the changing significance of Margherita for the people of Cortona in the fifty years following her death. The role of that art—predominantly Sienese in workmanship—in shaping medieval perceptions of the saint is also considered. Profuse illustrations, much of them from new photographs specially made for this book, forms integral part of the argument.Margherita of Cortona and the Lorenzetti introduces an important group of works into the discussion of later medieval art and spirituality and demonstrates the value of visual evidence for our knowledge and understanding of civic religion and religious experience, especially among the laity, in the Italy of the communes.

A cura di Chiara Frugoni. Della vita dei due fratelli, Pietro e Ambrogio, non sappiamo nulla, ma possiamo ritenere che Pietro sia nato intorno al 1280 e Ambrogio intorno all'ultimo decennio del XIII secolo; la peste del 1348 probabilmente falciò la vita di entrambi i fratelli. Ambrogio fu apprezzato in maniera entusiastica da Lorenzo Ghiberti, che lo definisce "nobilissimo disegnatore", per concludere: "et altrimenti dotto che nessuno degli altri". Il Vasari ammirava invece moltissimo Pietro: fu ". per tutta Toscana chiamato e carezzato, avendolo fatto conoscere primieramente le storie che dipinse a fresco nella Scala, spedale di Siena, nelle quali imitò di sorte la maniera di Giotto". Tuttavia in questi affreschi il Vasari non riuscì a leggere correttamente il nome di Pietro né comprese il nesso parentale con Ambrogio. Non resta dunque che scrutare le opere rimaste dei due pittori, per ricongiungerci, idealmente, all'ammirazione di cui godettero presso i contemporanei, pur nella triste consapevolezza della perdita di interi, lodatissimi, cicli. Alessio Monciatti, Maria Monica Donato ed io abbiamo cercato di offrire al lettore, attraverso una narrazione piana, con molti paragrafi che permettano riposanti soste, un viaggio che segue il percorso artistico dei due fratelli nelle chiese, nei palazzi e nei musei, in compagnia di splendide riproduzioni. Abbiamo privilegiato il significato delle immagini e il loro contesto culturale, anche se non sono stati dimenticati, ovviamente, i problemi di stile e di attribuzione. A lettura finita il turista in poltrona, questo è il nostro augurio, dovrebbe sentirsi invogliato a mettersi in viaggio davvero, per godere anche dell'atmosfera che circonda tanti capolavori, con il piacere di riconoscerli cari e famigliari. cm.24,5x33, pp.272, num.tavv.a col.nt. Firenze, Le Lettere Ed. cm.24,5x33, pp.272, num.tavv.a col.nt. Legatura editoriale, sopracoperta figurata a colori. Legatura editoriale, sopracoperta figurata a colori.

First Edition, First Printing. Published by Edizioni Polistampa, 2003. Folio. Gray cloth boards stamped in gold. Book is like new; clean with no writing or names. Sharp corners and spine straight. Binding tight and pages crisp. A fine copy of this history of Renaissance paintings. Text is mostly in Italian with some essays in English. 213 pages. ISBN: 8883046161. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions or if you would like a photo. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Southampton, New York. We Buy Books! Individual titles, libraries, collections. Message us if you have books to sell!

Siena of the thirteenth and fourteenth centuries was one of the great cities of Europe and its artists—Duccio, Simone Martini, and Ambrogio and Pietro Lorenzetti—were among those who reshaped the nature and place of painting first in Italy, then across Europe. Drawing on the extraordinary riches of Sienese archives, on early unpublished secondary sources, and on the recent work of historians, Hayden Maginnis situates early Sienese painters within their society and their city and provides the first comprehensive account of the economic, social, religious, and intellectual world of Siena’s artists. Where did painters live? How much were they paid? What was their social status? Were painters aware of the novel importance of thirteenth-century optics? Were the famous Sienese painters isolated figures, surrounded by a few secondary figures, or were they part of a larger community? These and a host of related questions structure Maginnis’s book, which demonstrates how firmly painters’ lives were embedded in the values and customs of their society and how important the particular character of their society was for the patronage artists received. The World of the Early Sienese Painter is the second volume of a trilogy Maginnis began with Painting in the Age of Giotto (1997). The third volume will turn from the broad social and cultural history of the present book to a history of early Sienese painting.

Where can the danger be lurking? Two soldiers are huddled together, one gazing up at the sky, the other darting a sideward glance. They derive a tacit reassurance from their weapons, but they are both in their different ways alone and scared. They were painted by Ambrogio Lorenzetti in the Palazzo Pubblico in Siena, and they seem symptomatic of a state of emergency: the year was 1338, and the spectre of the signoria, of rule by one man, was abroad in the city, undermining the very idea of the common good. In this book, distinguished historian Patrick Boucheron uncovers the rich social and political dimensions of the iconic ‘Fresco of Good Government’. He guides the reader through Lorenzetti’s divided city, where peaceful prosperity and leisure sit alongside the ever-present threats of violence, war and despotism. Lorenzetti’s painting reminds us crucially that good government is not founded on the wisdom of principled or virtuous rulers. Rather, good government lies in the visible and tangible effects it has on the lives of its citizens. By subjecting it to scrutiny, we may, at least for a while, be able to hold at bay the dark seductions of tyranny. From fourteenth-century Siena to the present, The Power of Images shows the latent dangers to democracy when our perceptions of the common good are distorted and undermined. It will appeal to students and scholars in art history, politics and the humanities, as well as to anyone interested in the nature of power.

Commisissioned in 1228 by Pope Gregorio IX and consecrated in 1258, the Basilica of St Francis in Assisi houses a fresco cycle. Covering the entire interior of the building, these works were painted between 1250 and 1310 by Medieval and Gothic artists including Cimabue, Giotto, Simone Martini and Pietro Lorenzetti. The history of the Basilica is recounted in this book, from the commission and construction of the building and the painting of the frescoes, to its current significance as home to the grave of St Francis. Beginning with a brief biographical portrait of St Francis, to whom the Basilica is dedicated, the book then analyzes the frescoes themselves. It traces the history of the Basilica through the ages, showing how the interior has been modified since its construction, and concludinng with a look at the Basilica today.

Siena of the thirteenth and fourteenth centuries was one of the great cities of Europe and its artists—Duccio, Simone Martini, and Ambrogio and Pietro Lorenzetti—were among those who reshaped the nature and place of painting first in Italy, then across Europe. Drawing on the extraordinary riches of Sienese archives, on early unpublished secondary sources, and on the recent work of historians, Hayden Maginnis situates early Sienese painters within their society and their city and provides the first comprehensive account of the economic, social, religious, and intellectual world of Siena’s artists. Where did painters live? How much were they paid? What was their social status? Were painters aware of the novel importance of thirteenth-century optics? Were the famous Sienese painters isolated figures, surrounded by a few secondary figures, or were they part of a larger community? These and a host of related questions structure Maginnis’s book, which demonstrates how firmly painters’ lives were embedded in the values and customs of their society and how important the particular character of their society was for the patronage artists received. The World of the Early Sienese Painter is the second volume of a trilogy Maginnis began with Painting in the Age of Giotto (1997). The third volume will turn from the broad social and cultural history of the present book to a history of early Sienese painting.

Combining narrative essays and luminous black & white images, Tideline is a revealing look at the working soul of American saltwater fishing. Authors Kirk Deeter and Andrew Steketee traveled the intercoastal waterways from Cape Cod to San Diego with photographer Marco Lorenzetti to create a uniquely illustrative work on the lives of nine sportfishing captains, as well as the remarkable fish and seascapes that fuel the imagination.Tideline is, at once, an entertaining, enlightening, and honest look at the diversity of the sea's human and natural life. From the solitude and serenity of the flats to the spirited adventure and adrenaline of blue water, this book captures the rugged and beautiful stories of fish and men.

La fresque dite « du Bon gouvernement », peinte en 1338 par Ambrogio Lorenzetti pour décorer la salle de la Paix du Palais communal de Sienne, est l’une des plus célèbres œuvres peintes de la fin du Moyen Âge en Italie. Elle fascine aujourd’hui par le foisonnement de ses détails et la force de ses allégories. Sur le mur nord siègent les figures allégoriques du « Bon gouvernement » qui a donné son nom à l’œuvre. A l’ouest, une longue paroi de quatorze mètres déploie sa réplique funeste, la cour des vices, et une cité en proie aux flammes de la haine sociale. A l’est, au contraire, s’étale une peinture majestueuse de la ville en paix et de ses campagnes. Richement illustré, le livre offre pour la première fois au public français une vision globale de cette œuvre peinte, qu’il explore également dans ses détails. De ce fait, il propose une réflexion sur la force politique des images.En rendant l’œuvre au climat d’urgence qui l’a suscitée et qui lui donne sens, Patrick Boucheron lui restitue sa fraîcheur et sa puissance, son sens politique et son actualité. Dans les années 1330, la commune de Sienne est menacée par la seigneurie c’est-à-dire par cette forme de gouvernement personnel qui subvertit les principes républicains de la cité. Comment résister à la tyrannie, éteindre le brasier de la guerre et réapprendre l’art de bien vivre ensemble ? Pour survivre dans son intégrité politique, la commune doit persuader de sa légitimité et de ses bienfaits. La fresque de Lorenzetti est le récit fiévreux d’un combat politique qui n’est jamais gagné.

La fresque dite « du Bon gouvernement », peinte en 1338 par Ambrogio Lorenzetti pour décorer la salle de la Paix du Palais communal de Sienne, est l’une des plus célèbres œuvres peintes de la fin du Moyen Âge en Italie. Elle fascine aujourd’hui par le foisonnement de ses détails et la force de ses allégories. Sur le mur nord siègent les figures allégoriques du « Bon gouvernement » qui a donné son nom à l’œuvre. A l’ouest, une longue paroi de quatorze mètres déploie sa réplique funeste, la cour des vices, et une cité en proie aux flammes de la haine sociale. A l’est, au contraire, s’étale une peinture majestueuse de la ville en paix et de ses campagnes. Richement illustré, le livre offre pour la première fois au public français une vision globale de cette œuvre peinte, qu’il explore également dans ses détails. De ce fait, il propose une réflexion sur la force politique des images.En rendant l’œuvre au climat d’urgence qui l’a suscitée et qui lui donne sens, Patrick Boucheron lui restitue sa fraîcheur et sa puissance, son sens politique et son actualité. Dans les années 1330, la commune de Sienne est menacée par la seigneurie c’est-à-dire par cette forme de gouvernement personnel qui subvertit les principes républicains de la cité. Comment résister à la tyrannie, éteindre le brasier de la guerre et réapprendre l’art de bien vivre ensemble ? Pour survivre dans son intégrité politique, la commune doit persuader de sa légitimité et de ses bienfaits. La fresque de Lorenzetti est le récit fiévreux d’un combat politique qui n’est jamais gagné.

A practicing artist, author, and curator, Timothy Hyman guides us through the golden age of Sienese painting, offering a new perspective on some of the world's most beautiful paintings, including Duccio's Maesta and Ambrogio Lorenzetti's famous Good Government frescoes. A sound understanding of the art and history of the period underpins the author's clearly conveyed love of the works. He takes a broadly chronological approach, with each chapter looking at one particular artist or group of artists from the late thirteenth century to the late fifteenth. Perceptive visual analysis is combined with clear discussion of the social, political, and religious climate of late medieval Italy. The impact of the Black Death on Siena's population and artistic production is discussed along with the profound effect of the Franciscan movement and the cults of local saints such as St. Catherine. Important throughout is Siena's civic self-consciousness, felt in the many cityscapes of Sienese art, from the fortified towns of Simone Martini's Guidorricio da Fogliano to the tiny schematic villages of Giovanni di Paolo's St. John the Baptist cycle. Hyman's enthusiastic tour of Sienese painting looks at its defining characteristicsrich color and spatial inventivenessand challenges the view that favors Florentine over Sienese art. An epilogue concludes with a look at the continuing renewed interest in Sienese painting and a discussion of its impact on contemporary artists such as R. B. Kitaj. Anyone interested in the art and culture of Italy, including those already familiar with Sienese painting, will find inspiration in this book. 180 illustrations, 80 in color.

Siena of the thirteenth and fourteenth centuries was one of the great cities of Europe and its artists—Duccio, Simone Martini, and Ambrogio and Pietro Lorenzetti—were among those who reshaped the nature and place of painting first in Italy, then across Europe. Drawing on the extraordinary riches of Sienese archives, on early unpublished secondary sources, and on the recent work of historians, Hayden Maginnis situates early Sienese painters within their society and their city and provides the first comprehensive account of the economic, social, religious, and intellectual world of Siena’s artists. Where did painters live? How much were they paid? What was their social status? Were painters aware of the novel importance of thirteenth-century optics? Were the famous Sienese painters isolated figures, surrounded by a few secondary figures, or were they part of a larger community? These and a host of related questions structure Maginnis’s book, which demonstrates how firmly painters’ lives were embedded in the values and customs of their society and how important the particular character of their society was for the patronage artists received. The World of the Early Sienese Painter is the second volume of a trilogy Maginnis began with Painting in the Age of Giotto (1997). The third volume will turn from the broad social and cultural history of the present book to a history of early Sienese painting.

St. Francis is remembered for the simplicity of his life and for his deep sympathy with all living creatures. The spectacular bi-level church built in his memory on the side of a mountain in Assisi is full of frescoes by Giotto, Cimabue, Lorenzetti and Simone Martini that illustrate scenes from his life and from the Bible. With many full-color photographs, including details and full-page illustrations, this book provides complete documentation of the history and decorative program of the Basilica.

Il primo teorico del Postmoderno interroga il senso del dipingere: tra Freud e Marx, Benveniste e Deleuze, una riflessione sull'energia trasformatrice dell'Eros. Con analisi che vanno dall'arte classica (Piero della Francesca, Francesco di Giorgio, Ambrogio Lorenzetti, Apocalisse di S. Severo) alla moderna (Cézanne, Delaunay, Klee).

The city of Siena, one of Italy’s major artistic centers, was home to many celebrated painters, among them Duccio, Simone Martini, Ambrogio and Pietro Lorenzetti, Sassetta and Beccafumi. This generously illustrated book provides a survey of Sienese painting from 1260 to 1555, an era of extraordinary artistic creativity in the Tuscan city. Art historian Diana Norman addresses the style and artistic technique of Sienese painters throughout the three centuries and explores why paintings were made, where they were originally seen, and how they were used and enjoyed by their audiences.The book focuses on works of art made for Siena itself, many of which are still to be seen within the city. Norman organizes the discussion around types of commissions and throughout the book situates the paintings within the context of the political, social, and religious circumstances of late medieval and renaissance Siena.

Where can the danger be lurking? Two soldiers are huddled together, one gazing up at the sky, the other darting a sideward glance. They derive a tacit reassurance from their weapons, but they are both in their different ways alone and scared. They were painted by Ambrogio Lorenzetti in the Palazzo Pubblico in Siena, and they seem symptomatic of a state of emergency: the year was 1338, and the spectre of the signoria, of rule by one man, was abroad in the city, undermining the very idea of the common good. In this book, distinguished historian Patrick Boucheron uncovers the rich social and political dimensions of the iconic ‘Fresco of Good Government’. He guides the reader through Lorenzetti’s divided city, where peaceful prosperity and leisure sit alongside the ever-present threats of violence, war and despotism. Lorenzetti’s painting reminds us crucially that good government is not founded on the wisdom of principled or virtuous rulers. Rather, good government lies in the visible and tangible effects it has on the lives of its citizens. By subjecting it to scrutiny, we may, at least for a while, be able to hold at bay the dark seductions of tyranny. From fourteenth-century Siena to the present, The Power of Images shows the latent dangers to democracy when our perceptions of the common good are distorted and undermined. It will appeal to students and scholars in art history, politics and the humanities, as well as to anyone interested in the nature of power.

Combining narrative essays and luminous black & white images, Tideline is a revealing look at the working soul of American saltwater fishing. Authors Kirk Deeter and Andrew Steketee traveled the intercoastal waterways from Cape Cod to San Diego with photographer Marco Lorenzetti to create a uniquely illustrative work on the lives of nine sportfishing captains, as well as the remarkable fish and seascapes that fuel the imagination.Tideline is, at once, an entertaining, enlightening, and honest look at the diversity of the sea's human and natural life. From the solitude and serenity of the flats to the spirited adventure and adrenaline of blue water, this book captures the rugged and beautiful stories of fish and men.