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In the first contemporary single-volume survey of the three arts of Venice--painting, sculpture, and architecture--Norbert Huse and Wolfgang Wolters offer an important counterbalance to the traditional orientation toward painting as the city's preeminent art by focusing on architecture as the essential Venetian art. They begin their study in 1460, when Venice was one of the key powers of Italy, and end with the death of Tintoretto in 1594, a period of waning international power. In the process, they define the distinctly Venetian terms by which the city and its culture should be understood. With over three hundred illustrations and an exhaustive bibliography, this volume makes an impressive contribution to art historical scholarship. "The historical aspect of this book is splendid, but where it excels is in its fearless and thought-provoking critical judgements. . . . it will lead both beginners and experts to new joys."--David Ekserdjian, 'Times Literary Supplement'
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As the first comprehensive treatment of Venetian sculpture of the early Renaissance in nearly a century, this book examines the documents, literary sources, and oeuvre of all Venetian sculptors in stone, bronze, and wood between the decoration of the crowning of San Marco at the beginning of the fifteenth century and the artistic revolution wrought by Jacopo Sansovino from ca. 1530 on. Its text pays particular attention to the style of individual works, to their physical and artistic context, their sources and their influence, and synthesizes forty-five years of attentive looking, of research in archives and libraries of the Veneto, and hundreds of photographic campaigns throughout Italy and as far afield as Croatia and Poland - many from specially mounted scaffolds. The introduction treats general questions of material, purpose, patronage, the origin of sculptors, their workshop practices and the structure of guilds, while the conclusion considers ways in which Venetian sculpture was unique--jacquette
Sculpture, Renaissance Italy Venice --- Sculpture de la Renaissance --- Sculpture, Italian --- Sculpture, Renaissance --- Sculptors --- Biography --- Sculpture --- Italian Renaissance-Baroque styles --- anno 1500-1599 --- anno 1400-1499 --- Venice --- Venetiaanse school
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Sarpi, Paolo --- Historians --- Statesmen --- Renaissance --- Sarpi, Paolo, --- Servites --- Venice (Italy) --- Intellectual life. --- History --- Historians - Italy - Venice - Biography. --- Statesmen - Italy - Venice - Biography. --- Renaissance - Italy - Venice. --- Sarpi, Paolo, - 1552-1623 --- Venice (Italy) - Intellectual life. --- Venice (Italy) - Biography. --- Venice (Italy) - History - 1508-1797.
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The Renaissance was a revolution of ideas, arts and sciences alike. With Italy at the center of this revolution, Venice was among the first states to embrace new concepts in fortification which would dominate military architecture for centuries. In the age of large galley fleets and an expanding Ottoman Empire, the mighty defences of the Republic of Venice protected faraway territories in the Mediterranean, and some of the largest and best preserved Renaissance fortifications are found on the former Venetian islands. This book illustrates in detail the impressive defences of Cyprus, Crete and Corfu, their design and their war record. Walled towns and fortresses were constructed to the latest standards of military technology, with walls capable of withstanding the largest armies and the longest sieges, including the longest in history--22 years.
Fortification --- Renaissance --- History --- Venice (Italy) --- History, Military --- Fortification - Italy - Venice - History --- Fortification - Mediterranean Region - History --- Fortification - Cyprus - History --- Fortification - Greece - Crete - History --- Fortification - Greece - Kerkyra - History --- Renaissance - Italy - Venice --- Venice (Italy) - History - 1508-1797 --- Venice (Italy) - History, Military
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history [discipline] --- glaskunst --- geschiedenis --- Applied arts. Arts and crafts --- anno 1500-1599 --- anno 1400-1499 --- Venice --- Glass blowing and working --- Glassware --- Glassware, Renaissance --- History --- Glass blowing and working - Italy - Venice - History - 16th century. --- Glassware - Italy - Venice - History - 16th century. --- Glassware, Renaissance - Italy - Venice. --- Renaissance glassware --- Glass --- House furnishings --- Table setting and decoration --- Glass craft --- Glass manufacture --- Blown glass --- Glass blowing and working - Italy - Venice - History - 16th century --- Glassware - Italy - Venice - History - 16th century --- Glassware, Renaissance - Italy - Venice
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Coins, Ancient --- Numismatics --- Manuscripts, Renaissance --- Art, Renaissance --- Illustrated books --- Antiquarians --- History --- Collectors and collecting --- Loredan, Andrea --- Coin collections --- Houghton Library. --- Coins, Ancient - Pictorial works --- Coins, Ancient - Catalogs --- Numismatics - Early works to 1800 --- Manuscripts, Renaissance - Italy - Venice - History --- Art, Renaissance - Italy - Venice - History --- Illustrated books - History - 15th and 16th centuries --- Antiquarians - Italy - Venice - History - 16th century --- Coins, Ancient - Collectors and collecting - Italy - Venice - History - 16th century --- Loredan, Andrea - Coin collections
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La réalité juridique de l’esclave à Rome et l’approche économique de l’esclavage ont longtemps figé nos représentations de la place de l’esclave dans la société romaine. C’est l’objet de cet ouvrage, à partir de la confrontation des sources littéraires et de la riche documentation épigraphique, iconographique et archéologique de Rome, du Latium et de la Campanie, du Ier siècle avant notre ère au IIIe siècle ap. J.-C., que de proposer une réévaluation de la situation de l’esclave sous l’angle de sa participation à la vie religieuse, en réfutant l’idée d’une exclusion induite par le modèle de la religion civique. En interrogeant les modalités d’accès des esclaves aux pratiques religieuses, leur participation aux sacrifices publics, aux cultes des uici, des collegia, de la familia, l’ouvrage pose la question de la nature de leur engagement, de leur initiative, voire de leur autorité dans le cadre d’une religion ritualiste, où les obligations sont conditionnées par le statut, mais où, pour les esclaves, la sociabilité joue un rôle fondamental. S’il n’y a pas de religion propre aux esclaves, c’est bien parce que chacun est à même de participer à la vie religieuse des structures romaines en vertu de l’enchevêtrement des réseaux auxquels il appartient.
Architecture, Renaissance --- Art, Renaissance --- Art, Italian --- Architecture --- Art --- Artists --- History --- Archivio di Stato di Venezia --- Architecture, Italian --- Documentation and information --- art [fine art] --- reference sources --- Renaissance --- anno 1400-1499 --- anno 1500-1599 --- Venice --- E-books --- Architecture, Italian - Italy - Venice - 15th century - Sources --- Architecture, Italian - Italy - Venice - 16th century - Sources --- Architecture, Renaissance - Italy - Venice - Sources --- Art, Italian - Italy - Venice - 15th century - Sources --- Art, Italian - Italy - Venice - 16th century - Sources --- Art, Renaissance - Italy - Venice - Sources --- Religion --- esclavage --- religion --- Haut-Empire --- art [discipline] --- Rome --- Religious life and customs. --- Politics and government --- History.
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History
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Renaissance
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Painting
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anno 1500-1599
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Venice
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Painting, Italian
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-Painting, Renaissance
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-#BIBC:ruil
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