L'autore:
List of Authors: Alessandro Angelini, University of Siena; Massimiliano Caldera, Soprintendenza for the Historical and Artistic Patrimony of Piemonte; Marco Campigli, University of Siena; Anna Maria Cavallaro, University of Rome; Alessandro Cecchi, Galleria Palatina and Boboli Gardens, Florence; Nadia Covini, University of Milan; Andrea De Marchi, University of Florence; Gerardo de Simone, University of Pisa; Gabriele Fattorini, University of Siena; Francesco Paolo Fiore, University of Rome; Arturo Galansino, The National Gallery, London; Luisa Giordano, University of Pavia; Stefano L'Occaso , Soprintendenza for the Historical, Artistic Patrimony of Brescia, Cremona and Mantua; Veronica Mele, University of Naples; Franco Piperno, University of Rome; Rinaldo Rinaldi, University of Parma; Francesco Senatore, University of Naples; Francesco Somaini, University of Salento; Elena Svalduz, University of Padua; Marcello Toffanello, University of Chieti-Pescara.
Product Description:
Italian Renaissance art is closely intertwined with the development of courts and court culture in much of the Italian territory. The patronage of the ruling families of the small Italian city-states greatly favoured the flourishing of the figurative arts, in architecture, but also in music, literature, and theatre. The initial essay on the political geography of Renaissance Italy is particularly important because it illustrates graphically (with the help of maps) the great territorial fragmentation of the Italian city-states, often very famous in the history of art and culture, but literally very small and with smaller, quasi-independent cities within them. Music and literature - often overlooked in general books on the Italian Renaissance - were a form of sophisticated entertainment but, at the same time, instrumental to increase the perception of magnificence (stately grandeur and lavishness) of the Prince. So, for instance, the chapter on literature begins with the role of the humanists at court, literature and propaganda (with reference to the many histories of ruling families written at court), theatrical representations, the new "bucolic" poetry and the eclogue, and the advent of print and the birth of the most famous Renaissance books: the 'Libro del Cortegiano' (The book of the Courtier) by Baldassare Castiglione and the 'Orlando Furioso' by Ludovico Ariosto. The second, longer part, is arranged geographically and, bringing together the best of Italian scholarship, covers the entire peninsula, giving attention not only to the major courts, such as Milan, Naples, Mantua, Ferrara, but devoting shorter chapters to some of the minor courts spread around northern and central Italy, from Rimini ruled by the Malatesta family to Carpi under the Pios, Bracciano ruled by the Orsini, etc. Attention is given also to city-states without a proper court, for instance Florence, which was informally ruled by the Medici family but was a republic. Additional text boxes p
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