02 This innovative book presents a fresh view of fifteenth-century Netherlandish art and the significance of its contributions to contemporary Italian art, notably in such areas as oil painting, landscape, and portraiture. Focusing on Florence, a prime center of Renaissance culture, the book explores for the first time the profound impact of Netherlandish works on Italian painters including Leonardo, Perugino, and Ghirlandaio.Paula Nuttall discusses Italian ownership of Netherlandish paintings in the fifteenth century and the shared artistic concerns of Florentine and Netherlandish painters. She examines in depth the various means by which artistic contact occurred, the growth in demand for Netherlandish art in Florence, and the holdings of the Medici and other collectors. With particular emphasis on the period 1460–1500, when the vogue for Netherlandish painting was at its height, the author shows that the consequences of Italian exposure to Netherlandish art were far more sweeping than has been understood before.Paula Nuttall is an independent scholar. She teaches at the Victoria and Albert Museum in London and at other U.K. institutions. She is a specialist on relationships between Netherlandish painting and Italy and has published widely in this area. This innovative book presents a fresh view of fifteenth-century Netherlandish art and the significance of its contributions to contemporary Italian art, notably in such areas as oil painting, landscape, and portraiture. Focusing on Florence, a prime center of Renaissance culture, the book explores for the first time the profound impact of Netherlandish works on Italian painters including Leonardo, Perugino, and Ghirlandaio.Paula Nuttall discusses Italian ownership of Netherlandish paintings in the fifteenth century and the shared artistic concerns of Florentine and Netherlandish painters. She examines in depth the various means by which artistic contact occurred, the growth in demand for Netherlandish art in Florence, and the holdings of the Medici and other collectors. With particular emphasis on the period 1460–1500, when the vogue for Netherlandish painting was at its height, the author shows that the consequences of Italian exposure to Netherlandish art were far more sweeping than has been understood before.Paula Nuttall is an independent scholar. She teaches at the Victoria and Albert Museum in London and at other U.K. institutions. She is a specialist on relationships between Netherlandish painting and Italy and has published widely in this area.

Published in conjunction with the exhibition held at the Huntington Library, Art Collections, and Botanical Gardens from September 28, 2013, to January 13, 2014.

A landmark, hardcover, slipcased volume that tells the story of the archetypal Renaissance city anew, through its art. Placed at the heart of Italy, Florence was already in the Middle Ages a center of commerce and fine craftsmanship. Spurred on by a few powerful dynasties of merchants and financiers—above all the Medici, but also the Strozzi, the Pitti, and others—the city became the leading force in the Renaissance of the arts, literature, and science. Challenging the primacy of the Venetian Republic and even the city of the Popes, Florence attained a glory that was reflected down through the later centuries of Medici rule. And Florence was all along a city of painters, who recorded its sights; the likenesses of its leaders and luminaries; its battles, civic myths, and patron saints; and, of course, the changing tastes of their Tuscan patrons. In this magnificent volume are assembled a wide variety of artworks, both familiar and rarely seen, that, interwoven with an authoritative text, illustrate the eventful history of Florence—from the age of Cimabue and Giotto, through the High Renaissance of Leonardo and Michelangelo, to the Mannerism of Vasari and Bronzino, and even to the era of modern travelers like Sargent and Degas. The History of Florence in Painting is a feast for the eyes and the intellect, and worthy companion to the previous volumes in this series, The History of Venice in Painting, The History of Paris in Painting, and The History of Rome in Painting.

This volume follows on from Pacht's work on the Van Eycks and their circle, to encompass the great artists of the fifteenth and sixteenth centuries. Figures such as Van Der Weyden, Bouts, Christus, Van Der Goes and Memling, as well as lesser known artists, are examined in turn. With detailed discussion of particular paintings, style and symbolism.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

"Wide-ranging in place and time, yet tightly focused on particular concerns, these new and original specialist articles show how observations on the early history of warfare based on the relatively stable conditions of the late seventeenth century ignore the realities of war at sea in the middle ages and renaissance. In these studies, naval historians firmly grounded in the best current understanding of the period take account of developments in ships, guns and the language of public policy on war at sea, and in so doing give a stimulating introduction to five hundred years of maritime violence in Europe."--BOOK JACKET.

In this volume, Rebekah Compton offers the first survey of Venus in the art, culture, and governance of Florence from 1300 to 1600. Organized chronologically, each of the six chapters investigates one of the goddess's alluring attributes – her golden splendor, rosy-hued complexion, enchanting fashions, green gardens, erotic anatomy, and gifts from the sea. By examining these attributes in the context of the visual arts, Compton uncovers an array of materials and techniques employed by artists, patrons, rulers, and lovers to manifest Venusian virtues. Her book explores technical art history in the context of love's protean iconography, showing how different discourses and disciplines can interact in the creation and reception of art. Venus and the Arts of Love in Renaissance Florence offers new insights on sight, seduction, and desire, as well as concepts of gender, sexuality, and viewership from both male and female perspectives in the early modern era.