Nottingham Transformed: Architecture And Regeneration for the New Millennium

Book Description

Scenically and architecturally, Nottingham is one of the most remarkable of English cities. A major commercial centre in the Middle Ages, it subsequently became an important industrial city until well into the twentieth century. Nottingham has more recently been a city in transition, with service industries, apartments, shops, bars and restaurants colonizing the former palaces of industry and generating a wave of new design. This book records more than two decades of regeneration and change, featuring important new projects by Hopkins Architects, Foster and Partners, Gustafson Porter, Marsh & Grochowski, Benson & Forsyth and Caruso St John, among others.

Book Description

After Raphael is the first overview of sixteenth-century Italian painting to be published in over thirty years. Reevaluating the paintings of Raphael, Michelangelo, Pontormo, Bronzino and their followers in the light of recent research, Marcia Hall offers a new interpretation for the stylistic shifts that occurred after 1520. By taking into account the social, cultural, political, theological, and patronage issues that affected taste and stylistic developments, she demonstrates how the revival of interest in antique Roman sculpture relief affected Mannerist painters. She also examines the repercussions of the Reformation, which changed forever the Church's view of the function of images.

Customer Reviews:

Painters and Popes and Protestants, oh my!.......2001-12-17

AFTER RAPHAEL, anyone trying to sort out what happened in art before, during and following his short life and successful career have had to look at the works that he designed and the many paintings that his workshop carried out and finished the way that he wanted them done: as my sculptress mother used to say, and my artist sister still says, the questions that were asked before him were there, along with his answers, in all his works; also, the questions that artists raised and answered after he was long gone were there too, along with his answers. His death in 1520, or that of Pope Leo X's a year later, ended the High Renaissance Classic style of centralized compositions putting the focus and the most important action in the same place, as in Leonardo da Vinci's "Battle of Anghiari" for the Palazzo Vecchio in Florence, and unreal poses with lots of ornamentation, as in what Michelangelo did for the Sistine Chapel. What with influence and money falling into hands outside the Roman Catholic Church, the popes needed to draw on something that would pull Italy together and keep fighting weight as art definers and supporters against middle-class citizens, known as burghers, and wealthy families, such as the Medici. Pope Julius II had pulled out a common history under the Roman Empire: a classical art style based on ancient Roman relief sculpture became popular what with admiration for the "Apollo Belvedere" and the recently uncovered "Laocoon" marble statue, until then known from the praise passed down through history by the writings of Pliny the Elder; beautiful examples were Pinturicchio's pioneer trying the domus aurea style in Nero's palace colors, gilding and stuccoes out on the Bufalini Chapel at Santa Maria in Aracoeli, Raphael's painting of the Stanza della Segnatura private library, and leading ancient history painter Ripanda's stone-like monochrome relieflike paintings. Particularly the engravers had taken up a related relieflike style beautifully expressed in Polidoro da Caravaggio's now lost facade decorations all'antica, Michelangelo's "Battle of Cascina," and Raphael's "Battle of the Milvian Bridge" design. The Mannerist style knew almost no limits in ornamenting paintings filled with figures and tried to ape antique sculpture, as in Cardinal Ricci's chapel, where Francesco Salviati painted David as independent, merciful and unpretentious in the midst of all sorts of illusions, what with parts of the frescoes looking like they were really jutting out from the walls as part of the architecture, and of all sorts of ornamentation, such as framed paintings, garlands, scrolls, and vases; and as in the Altoviti family chapel altarpiece by Giorgio Vasari, who held true to style by having the flat light strike the foremost parts of the figures. Not surprisingly a Counter-Mannerist style showed up among younger artists influenced by Michelangelo's frescoes for the Pauline Chapel and his later Pietas, but without the painter-sculptor's view of clumsily and gracelessly sinful people in need of redemption and with the noble, sincerely devout figurings from Sebastiano del Piombo. What with Protestant criticism of image-making as breaking God's Commandments, a Counter-Reformation style slowed the pace of ornamentation in painting, and the Council of Trent came up with standards for sacred art, acceptable to the Roman Catholic Church, coming out against what was relieflike and unreal, and competitive with the Reformation. Mature Late Mannerists pulling out the stops on ornamentation included second rank artist Jacopino, with his Oratory of San Giovanni decollato trailblazing the first use of relieflike style in sacred art, and Taddeo Zuccaro. So author Marcia Hall has come up with a beautifully illustrated, carefully written and clearly organized book: I am unaware of books that add to her thorough work; her magnificent book leaves readers with a very personal reaction, in that we can choose whichever artist or style that we want to look into individually and separately, because she has left us better informed on them all

The Culture of the High Renaissance: Ancients and Moderns in Sixteenth-Century Rome

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Absolutely superb
Passionate, learned, sexy, urbane and fascinating

The Culture of the High Renaissance: Ancients and Moderns in Sixteenth-Century Rome
Ingrid D. Rowland
Manufacturer: Cambridge University Press
ProductGroup: Book
Binding: Hardcover

Renaissance | Schools, Periods & Styles | Arts & Photography | Subjects | Books

General | Arts & Photography | Subjects | Books

Civilization & Culture | Historical Study | History | Subjects | Books

Book Description

Between 1480 and 1520, a concentration of talented artists, including Melozzo da Forli, Bramante, Pinturrichio, Raphael and Michelangelo, arrived in Rome and produced some of the most enduring works of art ever created. This period, now called the High Renaissance, is generally considered to be one of the high points of Western civilization. How did it come about and what were the forces that converged to galvanize such an explosion of creative activity? In this study, Ingrid Rowland examines the culture, society, and intellectual norms that generated the High Renaissance. Fuelled by a volatile mix of economic development, scholarly longing for the glories of ancient civilization, and religious ferment, the High Renaissance, Rowland posits, was also a period in which artists, patrons, and scholars sought ‘new methods for doing new things’.

Customer Reviews:

Absolutely superb.......1999-03-13

It is nearly impossible to overpraise Ingrid Rowland's book. Strikingly original, _The Culture of the High Renaissance_ is a dazzling display of scholarship and one of the finest examples of historical writing in recent memory. There is exceptional erudition here--her work is a feast of information, rare insight, and compelling interpretation--and it is presented by Rowland from beginning to end with enthusiasm and considerable grace. Refreshingly, she always gives the sense of inviting the reader along to share in the discovery of a world she knows so well, and so clearly loves. The writing itself is something extraordinary. Here the fascinating world of sixteenth century Rome is presented with passion, affection, and humor--a more than welcome antidote to the bloodless prose of much current academic writing. This should come as no surprise to readers familiar with Rowland's pieces in _The New York Review of Books_ (her current article, "Titian: The Sacred and Profane" is characteristically dazzling and not to be missed). It is easy to see why Rowland was recently recognized for her outstanding teaching at the University of Chicago. Lucky students...lucky readers. Prof. George Lechner, Italian Renaissance (Honors), University of Hartford

Passionate, learned, sexy, urbane and fascinating.......1999-03-02

From a review by Anthony Grafton in The New York Review of Books, March 4, 1999 (Vol. XLVI, No. 4), pp. 34-38. "Like Burckhardt, Ingrid Rowland sees the Renaissance as the birth of a new culture and society. Like Burckhardt, too, she brings this lost world back to three-dimensional life and vivid color, for, like him, she too is a splendid writer whose words evoke unforgettable images of Renaissance society. Rowland deftly describes the young artists and warriors we know from Benvenuto Cellini's autobiography, every ready to fight or fornicate. . . . More remarkably, Rowland does as much for the city's old scholars." "Though Rowland peoples her story with memorable characters, she also re-creates the institutions in which they had to make their way." "Especially effective-and particularly fascinating-are Rowland's recreations of particular Roman circles and their ways of making scholarship into art." "Rowland's remarkable enterprise in cultural history synthesizes earlier scholarship of many kinds: that of urban historian like David Coffin, Christopher Frömmel, and Charles Burroughs; of intellectual historians like John D'Amico and Charles Stinger; of historians of the classical revival in art and architecture like Otto Kurz, Elisabeth MacDougall, and Phyllis Pray Bober; of passionate delvers into Vatican manuscripts like Vittorio Fanelli and Massimo Miglio. But this book really rests more on primary than on secondary sources. . . . Her view of Roman intellectual life, her sense of personal interactions and intellectual collisions, derive directly form the cornucopia of documents she has discovered, evaluated, and edited." "Painters and writers, life as art, style as mediations, banquet years: Ingrid Rowland, like a contemporary Burckhardt, brings a lost world to life. She has given us a genuinely metropolitan High Renaissance, not only passionate and learned, but also sexy, urbane, and fascinating."

Sixteenth-Century Italian Art (Blackwell Anthologies in Art History)

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Sixteenth-Century Italian Art (Blackwell Anthologies in Art History)

Manufacturer: Blackwell Publishing Limited
ProductGroup: Book
Binding: Hardcover

General | Architecture | Professional & Technical | Subjects | Books

Reference | Architecture | Professional & Technical | Subjects | Books

Mannerism | Schools, Periods & Styles | Arts & Photography | Subjects | Books

Medieval | Schools, Periods & Styles | Arts & Photography | Subjects | Books

Renaissance | Schools, Periods & Styles | Arts & Photography | Subjects | Books

General | Instructional & How-To | Arts & Photography | Subjects | Books

General | Arts & Photography | Subjects | Books

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The Agony and the Ecstasy

ASIN: 1405108401

Book Description

Sixteenth-Century Italian Art is a collection of 23 classic and recent essays on this important and transformative period. The book includes distinguished studies of Cinquecento painting, drawing, printmaking, sculpture, and architecture. Organized thematically, it introduces major topics and debates in the field. Several of the essays appear here in English for the first time.Complete with editorial introductions, the anthology presents a range of approaches recent historians have taken to sixteenth-century Italian art. Highlighting themes on which Italian Renaissance studies from the last half-century have focused, the book is ideal for introductory courses.

Reactions to the Master: Michelangelo's Effect on Art and Artists in the Sixteenth Century

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Reactions to the Master: Michelangelo's Effect on Art and Artists in the Sixteenth Century

Manufacturer: Ashgate Publishing
ProductGroup: Book
Binding: Hardcover

General | History & Criticism | Arts & Photography | Subjects | Books

Renaissance | Schools, Periods & Styles | Arts & Photography | Subjects | Books

General | Arts & Photography | Subjects | Books

Look Inside History Books | Trip | Specialty Stores | Books

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ASIN: 0754608077

Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy (Sixteenth Century Essays & Studies, 54.) (Sixteenth Century Essays & Studies, 54.)

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Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy (Sixteenth Century Essays & Studies, 54.) (Sixteenth Century Essays & Studies, 54.)

Manufacturer: Truman State University Press
ProductGroup: Book
Binding: Paperback

Renaissance | Schools, Periods & Styles | Arts & Photography | Subjects | Books

Study & Teaching | Reference | Arts & Photography | Subjects | Books

General | Arts & Photography | Subjects | Books

General | Women's Studies | Nonfiction | Subjects | Books

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ASIN: 0943549884

Book Description

Beyond Isabella d'Este, who were the secular female patrons of art and architecture in Renaissance Italy? This volume brings together fourteen essays that examine the important and often unrecognized roles secular women--both aristocratic and bourgeois--played in the patronage of visual culture during the Italian Renaissance.

Book Description

Painting in Sixteenth-Century Venice, here published in a revised and updated edition, explores the visual tradition of one of the most important centres of the Italian Renaissance through a study of three masters - Titian, Veronese, and Tintoretto. These painters dominated and shaped the traditions of Venetian painting in the High and Late Renaissance. Establishing the conditions of painting in Renaissance Venice, including the social, economic and political situation of arts and artists and the aesthetic values that distinguish Venetian painting from that of Central Italy, David Rosand also explores the formal principles and technical procedures that determined the uniqueness of painting in Venice, above all the development of oil painting on canvas. He also analyses individual images, altarpieces and mural paintings within the several contexts of conventions and institutions - artistic, social, historical - of Renaissance Venice.

Customer Reviews:

Don't be misled by opinionated review!.......2003-11-12

"Ann Arbor" is way off the mark, and did not read the Tintoretto chapter carefully, as it celebrates the depth of the artist's religious imagery. This book is a classic! Gracefully written, deeply learned yet unassuming, and deserving the most attentive close reading you can spare. The introduction is the best, most concise treatment available anywhere of the outstanding contributions of Venetian Renaissance painting. Rosand is possibly the most distinguished scholar now writing about this marvelous topic. Note that the 3 "artist" chapters are not meant to produce a SURVEY of Venetian painting--each has a different THEME that is traced in the art of the master best suited to it. I've been teaching Venetian Renaissance art at the undergrad and grad level for over 20 years, and I can vouch for the excellence of this book.

Good and bad..........2001-06-05

This book would have recieved 5 stars if it wasn't for an apparent misunderstanding of Tintoretto on the part of Prof. Rosand. The first section of the book is oustanding, laying out beutifully such necessary background info/theory as the role of the artist in 16th century Venice and (even better) the aesthtics of the disengo vs. colorito / florence vs. venice controversy. Now for the bad: while it is generally a nice, concise overview of Tintoretto's artistic production, Rosand misses the point in terms of expressive content of his art, debunking the notion that Tintoretto communicates a real, personal passion and piety. He also claims that, contrary to popular scholarship, the Council of Trent had little effect on the outcome of his paintings and "any attempt to link associate specific doctrines may be misleading" (approx. quotation regarding the San Giorgio Maggiore "Last Supper). Despite these questionable views (which he contradicts in other sources, by the way) it is a valuable volume to anyone's personal library.

Great book.......1999-10-17

I haven't seen the book, but i have a feeling it will be grea

Art, Theory and Culture in Sixteenth-Century Italy: From Techne to Metatechne

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Art, Theory and Culture in Sixteenth-Century Italy: From Techne to Metatechne
Robert Williams
Manufacturer: Cambridge University Press
ProductGroup: Book
Binding: Hardcover

General | History & Criticism | Arts & Photography | Subjects | Books

Renaissance | Schools, Periods & Styles | Arts & Photography | Subjects | Books

General | Arts & Photography | Subjects | Books

All Titles | Qualifying Textbooks - Fall 2007 | Stores | Books
ASIN: 0521495997

Book Description

Art, Theory and Culture in Sixteenth-Century Italy offers a critical overview of the literature on the visual arts produced during the High and Late Renaissance. Analyzing and interpreting texts by such writers as Vasari, Lomazzo, Zuccaro, and Tasso, Robert Williams demonstrates how these works offer insight into the experience of contemporary viewers, thus permitting a clearer view of the relationship between abstract thought and lived experience. By focusing on a heretofore neglected, but important body of literature, Williams shows how an understanding of it can transform our knowledge and appreciation of the Renaissance.

Aretino's Satyr: Sexuality, Satire, and Self-Projection in Sixteenth-Century Literature and Art (Toronto Italian Studies)

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Aretino's Satyr: Sexuality, Satire, and Self-Projection in Sixteenth-Century Literature and Art (Toronto Italian Studies)
Raymond B. Waddington
Manufacturer: University of Toronto Press
ProductGroup: Book
Binding: Hardcover

General | Biographies & Memoirs | Subjects | Books

Satire, Classic | Humor | Entertainment | Subjects | Books

Renaissance | World | History | Subjects | Books

Italian | World Literature | Literature & Fiction | Subjects | Books
ASIN: 0802088147

Book Description

Pietro Aretino's literary influence was felt throughout most of Europe during the sixteenth-century, yet English-language criticism of this writer's work and persona has hitherto been sparse. Raymond B. Waddington's study redresses this oversight, drawing together literary and visual arts criticism in its examination of Aretino's carefully cultivated scandalous persona - a persona created through his writings, his behaviour and through a wide variety of visual arts and crafts.

In the Renaissance, it was believed that satire originated from satyrs. The satirist Aretino promoted himself as a satyr, the natural being whose sexuality guarantees its truthfulness. Waddington shows how Aretino's own construction of his public identity came to eclipse the value of his writings, causing him to be denigrated as a pornographer and blackmailer. Arguing that Aretino's deployment of an artistic network for self-promotional ends was so successful that for a period his face was possibly the most famous in Western Europe, Waddington also defends Aretino, describing his involvement in the larger sphere of the production and promotion of the visual arts of the period.

Aretino's Satyr is richly illustrated with examples of the visual media used by the writer to create his persona. These include portraits by major artists, and arti minori: engravings, portrait medals and woodcuts.

Fifteenth and Sixteenth Century Italian Drawings/E0601P

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Fifteenth and Sixteenth Century Italian Drawings/E0601P
N.Y.) Metropolitan Museum of Art (New York , Jacob Bean , and Lawrence Turcic
Manufacturer: Metropolitan Museum of Art
ProductGroup: Book
Binding: Paperback
ASIN: 0870993151

Book Description

What if Picasso had been a chair maker and Stravinsky a designer of tables? What would have been the impact of such intense creative talent on twentieth-century furniture? Today there is a man with this quality of profound artistic vision and talent who has devoted his life to making furniture. His name is Sam Maloof, and this book is his life and work told in his own words. Sam Maloof started making furniture immediately after World War II, when there was very little demand for hand-made objects. His perseverance through 'years of difficulty is a testament to the depth of his love for wood and for working with it. Since childhood, Sam has also been in love with technique and has constantly developed his precise sense of form and design. These three loves-of wood, of making things, and of designbrought him to the world of furniture and eventually to an honored place among America's leading artistcraftsmen. As with true great art, everything Sam Maloof makes seems simple. His furniture has a clear rhythm and flow, a bright vitality that eludes analysis. All his furniture is functional: chairs are comfortable; tables, while sculptural, are still tables to be used; desks are custom-designed to meet the needs of each user. Though Maloof furniture designs are all intensely his own, they remain unassuming and natural. His work has the calm, sure quality that comes from technical mastery combined with a creative joy in finding ways to let wood speak. A first encounter with a piece of Maloof furniture is like meeting a friend from the past-the warmth of relationship is immediate and delightful. This warmth never pales. The qualities of his work are mirrored in the artist. Sam is open, direct, and gracious. He projects a feeling of affable dignity and goodwill, and he works with the ease and clarity seen in his furniture. Work for him is not drudgery. It is a renewal, an affirmation. He and his wife, Alfreda, live in a meandering house that nestles in a lemon orchard at the foot of the San Gabriel Mountains, near San Bernardino, California. Sam has been building and expanding the house for thirty years. It unfolds as a series of surprises, from Sam's workshop at one end to the new guestroom at the other. Every room contains the ceramics, woodwork, textiles, baskets, Pictures, and other beautiful things that nourish the Maloofs and give them pleasure. Sam Maloof's technical mastery of woodworking is coupled with mature, strongly personal artistic expression. He has set a standard for his craft in North America and the world. Future generations of craftsmen will see him as one of the major artistic lights of this century.

Customer Reviews:

A must-own for anyone who appreciates art in its purest form.......2006-11-10

As you most likely know, Sam Maloof is an icon in the world of woodworking. This book does a great job of both highlighting his many creations as well as to tell the story of the man who would define an entire style and change the face of fine furniture. Written by Sam himself, the book gives you an insight into his genius and humility that you can't get anywhere else other than from the man. And it's clear he had creative input into the design of the book itself, as it's beautifully illustrated and elegantly laid out. I'm relatively new to woodworking and the brilliance of Sam Maloof, but I'm so glad I'm able to have discovered him while we're still blessed with his presence on the earth. Get this book.

FANTASTIC !!!!!!!!!!.......2006-11-07

IF YOU ARE INTO WOOD OR WOODWORKING AS MUCH AS I AM, OR EVEN IF IF YOU ARE ONLY INTO READING ABOUT GREAT ARTISTS/CRAFTSMEN, THIS BOOK IS A MUST FOR YOU !! IT DETAILS WITH GREAT CLARITY SAM'S LIFE & WORK THROUGH BOTH PHOTOS & REMARKABLE WRITING. I FOUND IT INFORMATIVE & INSIGHTFUL!! DO NOT PASS UP THE OPPORTUNITY TO OWN THIS BOOK !!!

BILL

sam maloof a briliant man.......2000-01-12

I bought this book when I was a student of woodworking/cabinetmaking in college, after hearing and seeing and studing some of Mr.Maloof's work in class. I found his command and respect for his craft, and the material that he works with to be second to none. His work is a insperation in it's self but once you find out the story behind this unbeliveable man it is all the more fasanating. his simple thoughts and down to earth style are a insperation to all. after reading this book I was amazed and inspired by this man and will remember and re-read this book may times.he will always be a insperation to myself and all woodworkers for years to come

Most excellent book. A must have for any woodworker!.......1998-11-24

Sam Maloof is a world treasure. His book reflects his passion and skill as a master. Sam's book is not written in a pompous manor but in a matter of fact point of view. Sam shares his life with us and puts it on paper. I have had the opportunity to meet Mr. Maloof and his lovely and gracious wife, Alfreda before her passing. Sam's love and passion for his craft is second only to his devotion to God and his love for his beautiful wife. His book reflects that in a way that is educational, thought provoking and simple. His warm and friendly demeanor in person is very evident in this book! Sam beleives there are no secrets in woodworking. He shares his finish and techniques in this book, although this is NOT a "how to" book. Reading this book, you will learn something about philosophy, Spirituality and some woodworking along the way.

Keith Kidd Vice-President Cerritos Student's Woodworking Association (CSWA)

The most incredible woodworking book ever!!!.......1998-07-04

Sam is the finest woodworker that ever lived, and this is an outstanding work by and about him. I only wish he would do another one!

Sam Maloof: Woodworker (Video Tape: The MacArthur Library)

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Sam Maloof: Woodworker (Video Tape: The MacArthur Library)
The MacArthur Libraries
Manufacturer: The MacArthur Libraries
ProductGroup: Book
Binding: Paperback
ASIN: B000IR4YBQ

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Sam Maloof, Woodworker
Sam Maloof
Manufacturer: Kodansha Amer Inc
ProductGroup: Book
Binding: Hardcover
ASIN: B000OLZVKE

Book Description

Environmental Economics for Sustainable Growth is a specially designed handbook for trainers, practitioners and government advisors involved in environmental policy making. It will enable professionals to initiate and implement environmental economic studies and identify policies and investments which will ensure sustainable development in their respective countries.

The book focuses on economic tools but also encompasses ecological and sociological perspectives, all of which are essential to any successful environmental policy. The authors highlight the major issues in environmental policy making and the analysis of projects with environmental impacts.

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