Renaissance

• ISBN13: 9780801869945
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Weapons and Warfare in Renaissance Europe explores the history of gunpowder in Europe from the thirteenth century, when it was first imported from China, to the sixteenth century, as firearms became central to the conduct of war. Bridging the fields of military history and the history of technology—and challenging past assumptions about Europe's "gunpowder revolution"—Hall discovers a complex and fascinating story. Military inventors faced a host of challenges, he finds, from Europe's lack of naturally occurring saltpeter—one of gunpowder's major components—to the limitations of smooth-bore firearms. Manufacturing cheap, reliable gunpowder proved a difficult feat, as did making firearms that had reasonably predictable performance characteristics. Hall details the efforts of armorers across Europe as they experimented with a variety of gunpowder recipes and gunsmithing techniques, and he examines the integration of new weapons into the existing structure of European warfare.

Francis Bacon, writing in 1620, remarked that the magnetic compass, the printing press, and gunpowder changed the appearance and state of the whole world. Bert S. Hall focuses closely on the last innovation to examine the effects of changes in military technology on European history in the late Middle Ages and early modern era. Strategists, he writes, first used guns as a means of inducing panic in an enemy. When rival armies gained access to this technology, the psychological use of firearms gave way to their employment as weapons of mass destruction. With increased military power came a transformation in the power of states, allowing greater centralization and force. Military history buffs will find much of interest in these pages.

• ISBN13: 9780393004755
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

This visually stunning and technically detailed book is an in-depth analysis of the materials and techniques used on thirty eight of the V&A's Renaissance frames. The book will teach the reader to recognise frame style, structure and surface decoration of the period, as well as additions and alterations and later frames in the style.  

* First detailed technical analysis of the V&A's most important Renaissance frames

* Highly illustrated with 100 + colour photos of front back and details, digital reconstructions, section profiles, and illustrations of frame types, joints and mouldings. 

* Provides a comparative reference for Renaissance frames in other publications

Christine Powell has worked at the V&A since 1993. She is a Senior Furniture Conservator specialising in gilt wood European Furniture, mirror and picture frames.  She has also worked at The National Gallery London for seven years as conservator working on European painted and gilt wood altarpieces and frames and The Wallace Collection for two years on European gilt wood frames and furniture. She has taught and published articles on the history, materials techniques and conservation of gilding. Christine studied furniture making and restoration of furniture at the London College of Furniture (latterly the Metropolitan University) including wood finishing, carving and gilding. Before this she worked in private practice for furniture restoration and special paint effects firms. She also attended Epsom School of Art and Design.

Zoë Allen first joined the V&A in 2000 to work on gilt wooden objects for the British Galleries and returned to the V&A in 2003 where she has worked since as Frames and Gilded Furniture Conservator. Before joining the V&A full time she worked as a conservator for both public institutions, such as English Heritage, and private practices including projects at the Royal Academy, St Paul’s Cathedral and Somerset House. Zoë has published articles on her work. After a first degree in French Literature, Zoë studied conservation at the City & Guilds of London Art School. Her training covered the conservation of objects made from wood, stone and other sculptural materials, gilding and decorative surfaces. Internships included the National Institute for Restoration, Croatia, the Royal Collection, London and the Museum of London.

A fascinating examination of a variety of female archetypes, from seductress to warrior, as represented in more than 90 paintings, prints, drawings, sculptures and decorative-arts pieces from the Renaissance and Baroque periods.

From the revelations of classical statuary pulled from the Roman soil as the popes began rebuilding the city in the fifteenth century, to the myth of serenity that Venice constructed to conceal its physical and political fragility, to bloody yet cultured Florence under the Medici, Ingrid D. Rowland traces the worldly, unworldly, and otherworldly strivings of artists, writers, popes, and politicians during that great “outburst of mental energy” we know as the Renaissance.Here are Botticelli, whose illustrations for the Divine Comedy reveal him to be one of Dante’s most careful readers; the multifaceted genius of Leonardo; the astonishing mastery of Titian and the erratic brilliance of artists like Correggio, Caravaggio, and Artemisia Gentileschi; the enigmatic erotic novel Hypnerotomachia Poliphili, the decoding of which was the subject of the recent novel The Rule of Four; the Western fascination with the mysteries of Egypt; and the glittering spiritual ferment of late Byzantium, which as it collapsed passed on so many ideas to Renaissance Italy.But beyond its artistic accomplishments, Rowland writes, “Renaissance life at its most distinctive was the intangible, unworldly life of the mind.” In her pages astronomers and astrologists, poets and philosophers, pornographers and prostitutes jostle for attention with painters and sculptors. Among them the inquisitive Jesuit scholar Athanasius Kircher stands out as a polymath who ranged over nearly every field of knowledge. Even though his commingling of scientific observation and hermetic symbolism is now obsolete, he remains for Rowland “a builder of connections who insisted on seeing harmony in the midst of disorder”–and thus one of the most exemplary Renaissance figures of all.

Renaissance Theory presents an animated conversation among art historians about the optimal ways of conceptualizing Renaissance art, and the links between Renaissance art and contemporary art and theory. This is the first discussion of its kind, involving not only questions within Renaissance scholarship, but issues of concern to art historians and critics in all fields. Organized as a virtual roundtable discussion, the contributors discuss rifts and disagreements about how to understand the Renaissance and debate the principal texts and authors of the last thirty years who have sought to reconceptualize the period. They then turn to the issue of the relation between modern art and the Renaissance: Why do modern art historians and critics so seldom refer to the Renaissance? Is the Renaissance our indispensable heritage, or are we cut off from it by the revolution of modernism?

The volume includes an introduction by Rebecca Zorach and two final, synoptic essays, as well as contributions from some of the most prominent thinkers on Renaissance art including Stephen Campbell, Michael Cole, Frederika Jakobs, Claire Farago, and Matt Kavaler.

• ISBN13: 9780316545310
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

William Manchester's A World Lit Only by Fire is the preeminent popular history of civilization's rebirth after the Dark Ages.

It speaks to the failure of medieval Europe, writes popular historian William Manchester, that "in the year 1500, after a thousand years of neglect, the roads built by the Romans were still the best on the continent." European powers were so absorbed in destroying each other and in suppressing peasant revolts and religious reform that they never quite got around to realizing the possibilities of contemporary innovations in public health, civil engineering, and other peaceful pursuits. Instead, they waged war in faraway lands, created and lost fortunes, and squandered millions of lives. For all the wastefulness of medieval societies, however, Manchester notes, the era created the foundation for the extraordinary creative explosion of the Renaissance. Drawing on a cast of characters numbering in the hundreds, Manchester does a solid job of reconstructing the medieval world, although some scholars may disagree with his interpretations.

The Renaissance is arguably the most significant period in the history of art. Earls provides biographical chapters for each of the 10 most famous artists from the European Renaissance, including Alberti, Donatello, Leonardo da Vinci, Raphael, and others. Each chapter traces the childhood and artistic development of the artist, recounts in vivid detail his most noteworthy creations, places his work within artistic, cultural, and philosophical (often religious) contexts, and examines the ways in which he influenced subsequent generations of artists. A timeline, chapter bibliographies, a glossary of terms, and a subject index provide additional tools for readers researching artists from this unparalleled period of artistic creation and rebirth.

In addition to learning about the artists' techniques, training, and creations, readers will learn many fascinating facts about the artists as people. Michelangelo carved his name on his Pieta only after it was publicly displayed and an onlooker attributed it to a Milanese artist. Leonardo da Vinci could bend a horseshoe with his bare hands, and he regularly bought birds from street vendors just to turn them loose. Brunelleschi made his own clocks. Alberti wrote a dramatic comedy in classical Latin that was mistaken by some for an ancient work. These ten artists truly embodied the Renaissance Man ideal. This book illustrates the agonies and the ecstasies of their lives and work.