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Books : Arts & Photography : Artists, A-Z : ( V-Z ) : Verrocchio, Andrea del
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. An interesting read about Renaissance Art including Proto-Renaissance, Early Renaissance, High Renaissance, and Mannerism. You'll read about Altichiero, Orcagna, Taddeo Gaddi, Fra Angelico, Paolo Uccello, Raphael, Pontormo, and more.
Project Webster represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Project Webster continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge.
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Andrea del Verrocchio was the preeminent sculptor in late fifteenth-century Florence and one of the leading artists in Renaissance Europe. In every genre of statuary, Verrocchio made formal and conceptual contributions of the greatest significance, and many of his sculptures, such as the Christ and St. Thomas and the Colleoni Monument, are among the masterpieces of Renaissance art. A favorite artist of Lorenzo de' Medici and the teacher of Leonardo da Vinci, Verrocchio was a key link between the innovations of the fifteenth century and the creations of the High Renaissance.This beautiful catalogue raisonne is the first comprehensive and detailed study of Verrocchio's extraordinary and innovative sculptures. Andrew Butterfield has combined careful visual analysis of the sculptures with groundbreaking research into their function, iconography, and historical context. In order to explain Verrocchio's contributions to the different genres of Renaissance sculpture, Butterfield provides new and important information on a broad range of issues such as the typology and social history of Florentine tombs, the theoretical problems in the production of perspectival reliefs, and the origins of the Figura serpentinata. Furthermore, Butterfield draws on a spectrum of often overlooked texts to elucidate fundamental iconographical problems, for example, the significance of David in quattrocento Flore
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Verrocchio's David Restored: A Renaissance Bronze from the National Museum of the Bargello, Florence
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This volume is dedicated to the Italian master Andrea del Verrocchio (1435/36-1488) and a few of his most important collaborators. The Louvre Museum collection boasts significant sheets from the Florentine Quattrocento graphic production. The selection presented here deserves attention for its exceptional artistic quality and variety of imagery.
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Andrea del Verrocchio book includes 17 high quality reproductions of his greatest masterpieces with title and date.
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Hauptseminararbeit aus dem Jahr 2003 im Fachbereich Kunst - Bildhauerei, Skulptur, Plastik, einseitig bedruckt, Note: 1,7, Ruhr-Universität Bochum (Kunsthistorisches), Veranstaltung: Donatello, 6 Eintragungen im Literaturverzeichnis, Sprache: Deutsch, Abstract: 1. Einleitung Der Bronze-David Donatellos ist die erste allansichtige, plastische Aktfigur seit der Antike. Sie hat ab der Frührenaissance (z.B. Verrocchio) bis zur Hochrenaissance (z.B. Michelangelo) und darüber hinaus (z.B. Rodin) das künstlerische Schaffen beeinflusst. Genauso bedeutend wie sie ist, genauso umstritten ist sie auch: die Datierung, der ursprüngliche Ausstellungsort, so wie die die folgende Platzierung der Skulptur, jedoch besonders die Deutung bezüglich der Botschaft und des Anlasses für die Anfertigung der Statue werden bis heute stark diskutiert. Diese Arbeit aber beteiligt sich nicht an der Diskussion der Datierung, des Ausstellungsortes und der Platzierung, die nur kurz erwähnt werden, sondern konzentriert sich vor allem auf die künstlerische Umsetzung der Bibelgeschichte von David und Goliat. Auf diese Weise soll zuerst die Besonderheit und somit auch die Bedeutung der Plastik ersichtlich werden. Dieses wird zusätzlich durch den Formenvergleich mit der David-Statue Verrocchios unterstützt, die (für die Kunstgeschichtsforschung) nicht weniger problematisch und (für die Kunstgeschichte) sehr bedeutend ist. Aus diesem Grund bedient sich diese Arbeit nur einiger Sekundärquellen, u.a. der Studien von A. Butterfield, U. Pfisterer, J. Poeschke, L. Planiscig, R.C. Wirtz und stützt sich in erster Linie auf die Bibel, die primär die Geschichte von David und Goliat erzählt - und die an dieser Stelle auf das Wesentliche zusammengefasst wiedergegeben wird: David und Goliat (Sam.I, 17) Zwischen Socho und Aseka bei Efes-Dammim versammelten sich die Israeliten und Philister, um gegeneinander in den Kampf zu ziehen.
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This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
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A Quarterly publication of the College Art Association.
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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
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Originally published in 1904. This volume from the Cornell University Library's print collections was scanned on an APT BookScan and converted to JPG 2000 format by Kirtas Technologies. All titles scanned cover to cover and pages may include marks notations and other marginalia present in the original volume.
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