"This book considers the impact that economics had on Renaissance art. In late fifteenth-century Italy, there was increasing demand for goods of all types, including sustained demand for art which exerted significant pressure on sought-after painters. Analysing specific works, the book demonstrates the consequences of demand for decisions about production. It addresses questions of how master painters employed their workshops to fulfill the requirement for new works, and how, in the face of high demand, they produced works of quality. The book traces the careers of four artists whose work defined painting in late fifteenth-century Florence: Alessandro Botticelli, Domenico Ghirlandaio, Filippino Lippi and Pietro Perugino, men who turned out high volumes of work and attracted the patronage of prestigious patrons, and whose reputations for excellence were widely publicized. Economic questions have long fuelled research in art history and we know a significant amount about prices and business on a macro level. Less is known about decisions on the micro level: what approaches painters took to the manufacture of bodies of commissioned work, how they made daily decisions on design and pigments application, how serial production related to creating work for commissions. The book considers these issues within the framework of two arguments. The first asserts that levels of excellence in production reflected master painters' choices; the second contends there was a central relationship among economics, design and quality. Using documentary evidence about price, scientific evidence about production, and formal analysis about appearance, the book demonstrates Renaissance business practices and shows the individual approaches artists took to producing excellence and meeting demand"--

This book investigates creative responses to the Nazi period in the work of three artists, Felix Nussbaum, Charlotte Salomon and Arnold Daghani, focusing on their use of pictorial narrative. It analyses their contrasting aesthetic strategies and their innovative forms of artistic production. In contrast with the autonomous, modernist art object, their works were explicitly linked with the historical conditions under which they were produced – the pressures of persecution and exile. Conditions in the slave labour camps and ghettos in the Ukraine, which shaped the paintings and drawings of Daghani, are contrasted with the experiences of exile in Belgium and France, which inspired Nussbaum and Salomon. In defiance of conventional artistic practice, they produced word-image combinations that can be read as narrative sequences, incorporating specific references to political events. While there has been a wealth of literary, philosophical and historical studies relating to the Holocaust, aesthetic debate has developed less extensively. This is the first comparative study of three artists who are only belatedly achieving recognition and the recent reception of their work is evaluated. By identifying the aesthetic principles and narrative strategies underlying their work, the book reassesses their achievement in creating new forms of modernism with an unmistakable political momentum. This book was published as a special issue of Word & Image.

The book investigates the lives and careers of the Procaccini brothers: Camillo (1561–1629), Carlo Antonio (1571–1631) and Giulio Cesare (1574–1625), the most important family of painters working in northern Italy at the start of the seventeenth century. The Procaccinis' work is here analysed by interconnecting their individual stories and understanding their success as the combination of mutual artistic choices, a high level of specialization and precise business organization. The book looks at this family of painters as entrepreneurs, emphasizing their conscious response to the requests of public and private patrons, as well as their ability to balance instances of originality and imitation in an era characterized by a wide range of artistic opportunities, including religious commissions, national and international patronage and multifaceted markets. This book will be of interest to scholars studying art history, early modern studies, the art market, Italian studies and Italian history.

Comprising 45 chapters, written especially for this volume by an international team of leading experts, The Routledge Companion to the Philosophies of Painting and Sculpture is the first handbook of its kind. The editors have organized the chapters across eight broader sections: Artforms History Questions of form, style, and address Art and science Comparisons among the arts Questions of value Philosophers of art Institutional questions Individual topics include art and cognitive science, evolutionary origins of art, art and perception, pictorial realism, artistic taste, style, issues of race and gender, art and religion, art and philosophy, and the end of art. The work of selected philosophers is also discussed, including Diderot, Hegel, Ruskin, Gombrich, Goodman, Wollheim, and Danto. With an introduction from the editors and comprehensively indexed, The Routledge Companion to the Philosophies of Painting and Sculpture serves as a point of entry to the subject for a broad range of students as well as an up-to-date reference for scholars in the field.