Dolce's Dialogo della pittura first appeared in Venice in 1557 and consists of a three-part dialogue between two Venetians, Aretino and Fabrini, on the particular merits of works of art and artists, including Michaelangelo, Raphael, and Donatello.

"Ludovico Dolce's Dialogo della pittura first appeared in Venice in 1557. L'Aretino, by which the work is known today, consists of a three-part dialogue between two Venetians, Aretino and Fabrini, on the particular merits of works of art and artists, including Michaelangelo, Raphael, and Donatello. It is based largely on Aretino's letters". --Publisher.

The papers in this volume offer examples of how historians, writers, playwrights, and painters in the early modern period used ancient history as a rich field of raw material that could be used, recycled, and adapted to new needs and purposes. They focused on classical antiquity as a source from which they could recreate the past as a way of understanding and legitimizing the present. The contributors to this volume have addressed a number of important, common issues that span a wide range of subjects from fifteenth-century Italian painting to the teaching of Greek history in eighteenth-century Germany. This volume is of interest for historians of the early modern period from all disciplines and for all those interested in the reception of classical antiquity. This publication has also been published in hardback, please click here for details.

Based on the history of knowledge, the contributions to this volume elucidate various aspects of how, in the early modern period, artists’ education, knowledge, reading and libraries were related to the ways in which they presented themselves

Jacopo Tintoretto (1518–94) is an ambiguous figure in the history of art. His radically unorthodox paintings are not readily classifiable, and although he was a Venetian by birth, his standing as a member of the Venetian school is constantly contested. But he was also a formidable maverick, abandoning the humanist narratives and sensuous color palette typical of the great Venetian master, Titian, in favor of a renewed concentration on core Christian subjects painted in a rough and abbreviated chiaroscuro style. This generously illustrated book offers an extensive analysis of Tintoretto’s greatest paintings, charting his life and work in the context of Venetian art and the culture of the Cinquecento. Tom Nichols shows that Tintoretto was an extraordinarily innovative artist who created a new manner of painting, which, for all of its originality and sophistication, was still able to appeal to the shared emotions of the widest possible audience. This compact, pocket edition features sixteen additional illustrations and a new afterword by the author, and it will continue to be one of the definitive treatments of this once grossly overlooked master.

While the masterpieces of the Italian Renaissance are usually associated with Italy’s historical seats of power, some of the era’s most characteristic works are to be found in places other than Florence, Rome, and Venice. They are the product of the diversity of regions and cultures that makes up the country. In Endless Periphery, Stephen J. Campbell examines a range of iconic works in order to unlock a rich series of local references in Renaissance art that include regional rulers, patron saints, and miracles, demonstrating, for example, that the works of Titian spoke to beholders differently in Naples, Brescia, or Milan than in his native Venice. More than a series of regional microhistories, Endless Periphery tracks the geographic mobility of Italian Renaissance art and artists, revealing a series of exchanges between artists and their patrons, as well as the power dynamics that fueled these exchanges. A counter history of one of the greatest epochs of art production, this richly illustrated book will bring new insight to our understanding of classic works of Italian art.