Skip to main content Accessibility help
×
Hostname: page-component-76fb5796d-skm99 Total loading time: 0 Render date: 2024-04-30T02:51:12.870Z Has data issue: false hasContentIssue false

Part I - Surface Effects: Color, Luster, and Animation

Published online by Cambridge University Press:  18 February 2020

Amy R. Bloch
Affiliation:
State University of New York, Albany
Daniel M. Zolli
Affiliation:
Pennsylvania State University
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Select Bibliography

da Siena, Bernardino. Le prediche volgari … dette nella Piazza del Campo l’anno MCCCCXXVII, ed. Bianchi, Luciano, three vols. (Siena: Tip. Edit. all’inseg. di S. Bernardino, 1880).Google Scholar
Bucklow, Spike. “Lead White’s Mysteries,” in The Matter of Art: Materials, Practices, Cultural Logics, c. 1250–1750, eds. Anderson, Christy, Dunlop, Anne, and Smith, Pamela H. (Manchester: Manchester University Press, 2015), pp. 141–59.Google Scholar
da Siena, Caterina. Libro della divina dottrina, volgarmente detto dialogo della divina provvidenza, ed. Fiorilli, Matilde (Bari: Gius. Laterza & Figli, 1912).Google Scholar
D’Elia, Una. “How the Quattrocento Saw Ancient Sculpture in Color,” Source: Notes in the History of Art 35 (2016): 216–26.Google Scholar
Dominici, Giovanni. Il libro d’amore di carità, ed. Ceruti, Antonio (Bologna: Romagnoli-dall’Acqua, 1889).Google Scholar
“Fece di scoltura di legname e colorì”. Scultura del Quattrocento in legno dipinto a Firenze, ed. Bellandi, Alfredo (Florence: Giunti, 2016).Google Scholar
Holmes, Megan. The Miraculous Image in Renaissance Florence (New Haven, CT: Yale University Press, 2013).Google Scholar
Lalli, Carlo, Moioli, Pietro, Rizzi, Maria, et al.Il Crocifisso di Donatello nella Basilica di Santa Croce a Firenze. Osservazioni dopo il restauro,” OPD Restauro 18 (2006): 1338.Google Scholar
Lisner, Margrit. Holzkruzifixe in Florenz und in der Toskana von der Zeit um 1300 bis zum frühen Cinquecento (Munich: Bruckmann, 1970).Google Scholar
Marguerite, Marie-Lys. “Albus et candidus: usages du blanc sur quelques sculptures pisanes en bois de la fin du XIVe et du début du XVe siècle,” in Aux limites de la couleur: monochromie & polychromie dans les arts (1300–1600), eds. Charron, Pascale, Boudon-Machuel, Marion, and Brock, Maurice (Turnhout: Brepols, 2011), pp. 3547.CrossRefGoogle Scholar

Select Bibliography

Barry, Fabio. “A Whiter Shade of Pale: Relative and Absolute White in Roman Sculpture and Architecture,” in Revival and Invention: Sculpture through Its Material Histories, eds. Clerbois, Sébastien and Droth, Martina (Oxford: Peter Lang, 2010), pp. 3162.Google Scholar
Bonsanti, Giorgio. “Notes on Experience Made at the Opificio delle Pietre Dure in the Restoration of Polychrome Sculpture,” in Polychrome Skulptur in Europa: Technologie, Konservierung, Restaurierung, eds. Schiessl, Ulrich and Kühnen, Renate (Dresden: Hochschule für Bildende Künste, 1999), pp. 63–8.Google Scholar
Caglioti, Francesco. “Due ‘restauratori’ per le antichità dei primi Medici: Mino da Fiesole, Andrea del Verrocchio e il ‘Marsia rosso’ degli Uffizi. I,” Prospettiva 72 (1993): 1742.Google Scholar
D’Elia, Una Roman. “How the Quattrocento Saw Ancient Sculpture in Color,” Source: Notes in the History of Art 35 (2016): 216–26.Google Scholar
Fehrenbach, Frank. “Coming Alive: Some Remarks on the Rise of ‘Monochrome’ Sculpture in the Renaissance,” Source: Notes in the History of Art 30 (2011): 4755.Google Scholar
Lillie, Amanda. “Sculpting the Air: Donatello’s Narratives of the Environment,” in Depth of Field: Relief Sculpture in Renaissance Italy, eds. Cooper, Donal and Leino, Marika (Oxford: Peter Lang, 2007), pp. 97124.Google Scholar
Malgouyres, Philippe. “Coloured Stones, Sculpted Objects: Subjects for Sculpture,” in Revival and Invention: Sculpture through Its Material Histories, eds. Clerbois, Sébastien and Droth, Martina (Oxford: Peter Lang, 2010), pp. 153–69.Google Scholar
Osano, Shigetoshi. “Due ‘Marsia’ nel giardino di Via Larga. La ricezione del decor dell’antichità romana nella collezione medicea di sculture antiche,” Artibus et historiae 17 (1996): 95120.CrossRefGoogle Scholar
Reuterswärd, Patrik. “The Breakthrough of Monochrome Sculpture during the Renaissance,” Konsthistorisk tidskrift 69 (2000): 125–49.Google Scholar
Zuraw, Shelley. “The Medici Portraits of Mino da Fiesole,” in Piero de’ Medici “Il Gottoso” (1416–1469): Kunst im Dienste der Mediceer, eds. Beyer, Andreas and Boucher, Bruce (Berlin: Akademie Verlag, 1993), pp. 317–39.Google Scholar

Select Bibliography

Alberti, Leon Battista. On Painting, trans. Grayson, Cecil, with an introduction and notes by Kemp, Martin (London: Penguin Books, 2004).Google Scholar
Cambareri, Marietta, with contributions by Hykin, Abigail and Harris, Courtney Leigh. Della Robbia: Sculpting with Color in Renaissance Florence (Boston: MFA Publications, 2016).Google Scholar
Cennini, Cennino. Cennino Cennini’s “Il libro dell’arte”: A New English Translation and Commentary with Italian Transcription, ed. Broecke, Lara (London: Archetype Publications, 2015).Google Scholar
Gentilini, Giancarlo. I Della Robbia. La scultura invetriata nel Rinascimento, two vols. (Florence: Cantini, 1992).Google Scholar
Ghiberti, Lorenzo. I commentarii, ed. Bartoli, Lorenzo (Florence: Giunti, 1998).Google Scholar
Hills, Paul. The Light of Early Italian Painting (New Haven, CT: Yale University Press, 1987).Google Scholar
Kupiec, Catherine. The Materiality of Luca della Robbia’s Glazed Terracotta Sculptures (Ph.D. dissertation, Rutgers University, 2016).Google Scholar
Meiss, Millard. “Light as Form and Symbol in Some Fifteenth-Century Paintings,” Art Bulletin 27 (1945): 175–81.Google Scholar
Il mercante, l’ospedale, i fanciulli. La donazione di Francesco Datini, Santa Maria Nuova e la fondazione degli Innocenti, eds. Filipponi, Stefano, Mazzocchi, Eleonora, and Sebregondi, Ludovica (Florence: Nardini Editore, 2010).Google Scholar
Pope-Hennessy, John. Luca della Robbia (Ithaca, NY: Cornell University Press, 1980).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×