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"Il confronto tra le pratiche architettoniche messe in atto nei cantieri italiani fra la seconda metà del Cinquecento e l'inizio del Seicento costituisce una esplicativa chiave di lettura del processo costruttivo post-michelangiolesco. Il volume, in cui confluiscono le ricerche presentate al convegno internazionale di Mendrisio, organizzato dall'Archivio del Moderno-USI il 3o e 31 maggio 2016, illustra casi studio esemplari con l'obiettivo di rilevare specificità, analogie, permanenze e novità nelle modalità operative e di gestione del cantiere, attuate a Roma, Loreto, Venezia, Genova e nel Regno di Napoli. Una particolare attenzione è riservata, inoltre, alle imprese edili di origine ticinese, rilevandone la significativa presenza nei cantieri presi in esame. Analizzato secondo diversi aspetti, dai meccanismi finanziari che ne regolano la gestione alle soluzioni tecnico-operative adottate, fino alle gerarchie di programmazione del lavoro delle maestranze, il cantiere emerge come momento privilegiato della produzione artistica, luogo di sperimentazione di molteplici saperi e incrocio di diversificate competenze"-- Page 4 of cover.

Architecture, Renaissance

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The untold story of Michelangelo's final decades-and his transformation into one of the greatest architects of the Italian RenaissanceAs he entered his seventies, the great Italian Renaissance artist Michelangelo despaired that his productive years were past. Anguished by the death of friends and discouraged by the loss of commissions to younger artists, this supreme painter and sculptor began carving his own tomb. It was at this unlikely moment that fate intervened to task Michelangelo with the most ambitious and daunting project of his long creative life.Michelangelo, God's Architect is the first book to tell the full story of Michelangelo's final two decades, when the peerless artist refashioned himself into the master architect of St. Peter's Basilica and other major buildings. When the Pope handed Michelangelo control of the St. Peter's project in 1546, it was a study in architectural mismanagement, plagued by flawed design and faulty engineering. Assessing the situation with his uncompromising eye and razor-sharp intellect, Michelangelo overcame the furious resistance of Church officials to persuade the Pope that it was time to start over.In this richly illustrated book, leading Michelangelo expert William Wallace sheds new light on this least familiar part of Michelangelo's biography, revealing a creative genius who was also a skilled engineer and enterprising businessman. The challenge of building St. Peter's deepened Michelangelo's faith, Wallace shows. Fighting the intrigues of Church politics and his own declining health, Michelangelo became convinced that he was destined to build the largest and most magnificent church ever conceived. And he was determined to live long enough that no other architect could alter his design.

Michelangelo Buonarotti --- Architecture, Renaissance --- Last years. --- Michelangelo Buonarroti, --- Italy.

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This book investigates the evolution of rusticated facings in perhaps one of the most significant contexts for their history, namely the architecture of the 15th century in Florence, where the development of this type of masonry intertwines with that of the buildings constructed over the century. Their main distinctive trait is naturalism, which in different shapes and degrees permeates every facing, thus becoming a sort of local inflection, which contaminates even the most up-to-date languages. The Florence renovatio of ancient architecture passes indeed from the masonries, as pointed out by many writings from that period, which describe their contemporary rusticated facings and compare them to the massif ancient opus quadratum. While accepting the lesson on magnificence by the Julio-Claudian rustication, Florence facings would never become a faithful reproduction of the Roman models, but would always retain traditional characters and patterns, constantly oscillating between an expressive freedom and a yearning for the rigour of form.

Architecture --- Architecture, Renaissance --- Decoration and ornament, Architectural --- History --- Florence (Italy) --- Buildings, structures, etc.

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On the 500th anniversary of the Venetian master's birth, this book shows how Tintoretto used architecture to structure perspective. There is no overstating the long shadow of influence that Jacopo Tintoretto (1519-94) has exerted on the history of Western art. However, in the long historiography devoted to his work, the Venetian master lacks a comprehensive and systematic study of the fundamental question of his relationship with architecture. On the occasion of the 500th anniversary of his birth, Tintoretto and Architecture draws on the most up-to-date writings on Tintoretto's work and on the history of Renaissance architecture to present a picture of the connection between the space painted in his pictures and the physical space in which they are located; to investigate the role of architecture as an organizing element of the composition; and to understand the original relationship between the viewer and the space in which the work was seen. This volume includes reproductions of Tintoretto's works in comparison with reproductions of the works of painter and architect contemporaries such as Paolo Veronese, Raphael, Giorgio Vasari and Andrea Palladio. In addition, Tintoretto and Architecture draws on emerging technology to present digitally rendered 3-D models of the architecture the figures in Tintoretto's paintings inhabit, underlining the emphasis the Venetian master placed on space and structure. The authors submit such masterworks as The Finding of the Body of St. Mark to this innovative treatment, offering new perspectives on well-loved works.

Architecture in art. --- Architecture, Renaissance --- Painting, Renaissance --- Tintoretto, --- Criticism and interpretation. --- Painting --- painting [image-making] --- perspective [technique] --- Tintoretto --- Venetiaanse school --- architectuur en schilderkunst

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Whether a painting, a sculpture, or a building, works of art in early modern Europe must achieve the highest degree of perfection. If in the Middle Ages perfection is mostly perceived as a technical quality inherent in craftsmanship, a quality that can be judged according to often unspoken criteria agreed upon by the members of a guild from the fifteenth century onwards perfection comes to incorporate a set of rhetorical and literary qualities originally extraneous to art making. Furthermore, perfection becomes a transcendent quality: something that cannot be measured only in terms of craftsmanship. In the Baroque period, perfection turns into obsession as a result of the emergence of historical models of artistic evolution in which perfection is already historically embodied in the first place, Vasari's investiture of Michelangelo as a universal canon for painting, sculpture, and architecture. This book aims to define, analyze, and reassess the concept of perfection in the arts and architecture of early modern Europe. What is perfection? What makes a work of art unique, emblematic, or irreplaceable? Does perfection necessarily relate to individuality? Is the perfect work connate with or independent from its author? Can perfection be reproduced or represented? How do artists react to perfection? How do post-Vasarian models of art history come to terms with perfection? To what extent perfection in early modern Europe is the matter of rhetoric, literary theories, theology, and even scientific observation?

Aesthetics of art --- Architecture --- art theory --- perfection --- anno 1500-1799 --- Europe --- Art, European. --- Architecture, European. --- Architecture, Modern. --- Perfection. --- Aesthetics. --- Art, European --- Architecture, European --- Architecture, Modern --- Modern architecture --- European architecture --- Art, Modern --- European art --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists) --- Art, Renaissance --- Architecture, Renaissance --- Christian art and symbolism --- Philosophy --- Appreciation --- Vasari, Giorgio, --- Art, Modern - 20th century - Philosophy --- Art, Renaissance - Philosophy --- Art, Renaissance - Appreciation --- Architecture, Modern - Philosophy --- Architecture, Renaissance - Philosophy --- Architecture, Renaissance - Italy --- Christian art and symbolism - Italy - 16th century --- Vasari, Giorgio, - 1511-1574 - Appreciation --- Vasari, Giorgio, - 1511-1574