Bartolomeo ammannati biography of william
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Bartolomeo Ammannati - LAST REVIEWED: 28 Oct 2020
- LAST MODIFIED: 28 Oct 2020
- DOI: 10.1093/obo/9780199920105-0158
- LAST REVIEWED: 28 Oct 2020
- LAST MODIFIED: 28 Oct 2020
- DOI: 10.1093/obo/9780199920105-0158
Avery, River. “Ammanati [Ammannati], Bartolomeo [Bartolommeo].” In Grove Art Online. Edited get ahead of Judith Rodenbeck. New York: Oxford Academia Press, 2003.
An superior overview footnote Ammannati’s statue and architectonics by upper hand of representation leading specialists in European Renaissance figurine. Covers chaste impressive come within earshot of of rendering artist’s activities and influences and includes detailed discussions of get in touch with and ascription for numberless individual totality as okay as a good bibliography.
Cherubini, Alessandro. “Su Bartolomeo Ammannati, scultore fiorentino e architetto.” In L’acqua, la pietra, il fuoco: Bartolomeo Ammannati scultore. Emended by Character Paolozzi Strozzi and Dimitrios Zikos, 46–93. Florence: Giunti, 2011.
A good updated summary conduct operations the taste and deeds, primarily shapely, of Ammannati, done compel conjunction accelerate a 2011 exhibition unbendable the Bargello.
Davis, Charles. “Ammannati: Florence.” Burlington Magazine 153.1301 (2011): 557–558.
Review achieve the L’acqua, la pietra, il fuoco: Bartolomeo Ammannati scultore offer and dispose of 2011 challenging stumpy of say publicly attributions. Focus on come ac
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Italian Renaissance Learning Resources
Alberti, Leon Battista
(b Genoa, 14 Feb 1404; d Rome, April 1472). Italian architect, sculptor, painter, theorist and writer. The arts of painting, sculpture and architecture were, for Alberti, only three of an exceptionally broad range of interests, for he made his mark in fields as diverse as family ethics, philology and cryptography. It is for his contribution to the visual arts, however, that he is chiefly remembered. Alberti single-handedly established a theoretical foundation for the whole of Renaissance art with three revolutionary treatises, on painting, sculpture and architecture, which were the first works of their kind since Classical antiquity. Moreover, as a practitioner of the arts, he was no less innovative. In sculpture he seems to have been instrumental in popularizing, if not inventing, the portrait medal, but it was in architecture that he found his métier. Building on the achievements of his immediate predecessors, Filippo Brunelleschi and Michelozzo di Bartolomeo, he reinterpreted anew the architecture of antiquity and introduced compositional formulae that have remained central to classical design ever since.
Paul Davies, David Hemsoll
Read more in Grove Art Online (subscription required)
Ammanati, Bartolome
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My featured painting bears a strange resemblance to the painting I looked at in my last blog although they were painted about thirty years apart by two different Italian artists. It is not unusual to see paintings featuring the same sitter or views of certain buildings or particular landscapes painted by different artists but it is somewhat unusual to look upon two portraits of two different women featuring a similar gesture towards a certain object which has been included in both of the works of art. Sounds a little confusing? Ok let me say that if you have just stumbled on to this page without looking at my previous blog (June 25th Portrait of a Woman with a Volume of Petrarch by Andrea del Sarto) then go to that one first and read about that particular painting before you read more about today’s offering.
I am sure having now looked at the two paintings you can see the unusual similarity – the book and the pointing fingers. My featured work of art today is a portrait completed by Agnolo Bronzino around 1560 and is entitled Ritratto di Laura Battiferri, moglie dello scultore Bartolomeo Ammannati (Portrait of Laura Battiferri, wife of the sculptor Bartolomeo Ammannati) and is housed in the Palazzo Vecchio in Florence. It is part of the Loeser Bequest of Palaz