Download e-book for iPad: Art and Architecture in Naples, 1266-1713: New Approaches by Cordelia Warr, Janis Elliott

By Cordelia Warr, Janis Elliott

ISBN-10: 1405198613

ISBN-13: 9781405198615

Usually overshadowed by means of the towns of Florence and Rome in art-historical literature, this quantity argues for the significance of Naples as a creative and cultural centre, demonstrating the breadth and wealth of creative event in the city.* Generously illustrated with a few illustrations particularly commissioned for this e-book* Questions the normal definitions of 'cultural centres' that have ended in the overlook of Naples as a centre of creative significance* an important addition to the English-language scholarship on artwork in Naples

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Vasari, Le vite, vol. 4, 525. The exact dates of Vasari’s sojourn in Naples are not clear. It appears that he arrived in the autumn of 1544 and stayed until September 1545. Studies of Vasari’s work at Sant’Anna dei Lombardi include Pierluigi Leone De Castris, ‘Napoli 1544: Vasari e Monteoliveto’, Bollettino d’Arte, 66, 1981, 59–88; and Liana De Girolami Cheney, ‘Vasari and the Monteolivetan Order’, in Jeanne Chenault Porter and Susan Scott Munshower, eds, Parthenope’s Splendor: Art of the Golden Age in Naples, University Park, PA, 1993, 49– 80.

Even 34 34 35 36 37 38 39 Wilkins’s update of Hartt (2006) does not include Naples, out of respect for ‘Hartt’s thesis that Renaissance art evolved in Florence and had its most fulfilling later development in Rome, Siena, and Venice’. Wilkins has further inter­ esting things to say on the subject in his preface to the 6th edn, 9–11. John Paoletti and Gary Radke, Art in Renaissance Italy, London and New York, 2005, in three editions. The section on Naples has grown slightly larger with each edition – fifteen pages in the 1st edition (1997), eighteen pages in the 2nd edition (2002) and twenty pages in the 3rd edition (2005).

62 The complicated political history of Naples ensured that local artists had access to styles from a wider geographical area than Vasari could have known. 63 By the time Vasari arrived in the city the kingdom 23 T H E N O R T H L O O K S S O U T H : G I O R G I O VA S A R I A N D E A R L Y M O D E R N V I S U A L C U L T U R E was in the hands of viceroys answerable to the Spanish Hapsburg dynasty,64 and, as has already been noted, the art and architecture of Naples reflected its cosmopolitan history.

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Art and Architecture in Naples, 1266-1713: New Approaches (Art History Special Issues) by Cordelia Warr, Janis Elliott

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