Masters & Pupils: The Artistic Succession from Perugino to Manet 1480-1880 (Hogarth Arts)
by Gert-Rudolf Flick
from Paul Holberton Publishing
This book is about a family tree: the line of descent that can be traced from Perugino in Italy in the fifteenth century to Edouard Manet in France in the nineteenth. It is not the usual kind of genealogy, of those connected by blood, more that of an "apostolic succession," following the way in which art in Europe was taught, from one generation to the next, from 1480 to 1880.
The book reveals how the nature and methods of artistic instruction changed over the centuries, from the guild system and the individual workshop to the academy, to the establishment of state institutions dedicated to the purpose, as exemplified in France.
The sequence that connects Perugino with Manet is made up of just eighteen artists. Some are household names such as Raphael and David, while others, such as Horace Le Blanc and Louis Boullogne, have fallen into obscurity. All are connected by a common bond: the belief that art could be taught and learned, and that those lessons would, in the nature of things, be passed on from an older artist to a younger, as generation succeeded generation. With Manet, the succession came to a halt, marking the end of a great tradition but also the beginning of the modern art world, in which the very desirability of teaching art has been thrown into question.
Pietro Perugino: Master of the Italian Renaissance
by Perugino
from Rizzoli Intl Pubns
Kult Bild: Cult Image: Altarpiece and Devotional Painting from Duccio to Perugino
by Jochen Sander
from Michael Imhof
Michelangelo and Raphael in the Vatican: With Botticelli, Perugino, Signorelli, Ghirlandaio, and Rosselli
by A. Graziano
from Treasures Inc
Victims and Villains in Vasari's Lives (Bettie Allison Rand Lectures in Art History)
by Andrew T. Ladis
from The University of North Carolina Press
Giorgio Vasari's The Lives of the Artists (1550, 1568) has been a key subject of study for students of the Italian Renaissance over the hundreds of years since its publication. It has maintained a powerful grip on the historical imagination and continues to influence the way scholars treat the Renaissance, its artists, and the entire intellectual enterprise of Western art. Focusing on Vasari's literary and narrative achievements, Andrew Ladis turns to Vasari's villains, rather than his heroes, to demonstrate the biographer's foremost interest in glorifying Michelangelo.
Approaching Lives on Vasari's terms--as the grand story of the rebirth and triumph of art in Italy--Ladis argues that Vasari was not a mere compiler of facts, but a shrewd, self-confident author aware of the power of metaphor. With a literary reading of the text, Ladis analyzes Vasari's motives and methods as an attempt to portray the great Michelangelo as a Christlike exemplum of ultimate light and goodness. Through biographic details both real and invented, Vasari presents all other artists as various players with varying degrees of heroic and villainous value. Antiheroic characters such as Buffalmacco, Lippi, and Castagno, Ladis argues, serve to accentuate the contrasting greatness of Michelangelo.
Perugino: L'Opera Completa
The New Testament of Our Lord and Saviour Jesus Christ. With engravings on wood from designs of Fra Angelico, Pietro Perugino, Francesco Francia, Lorenzo di Credi, Fra Bartolommeo, Titian, Raphael, Gaudenzio Ferrari, Daniel di Volterra, and others
Origini del movimento operario nel Perugino
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