Skip to main content Accessibility help
×
Hostname: page-component-76fb5796d-wq484 Total loading time: 0 Render date: 2024-04-30T03:01:58.779Z Has data issue: false hasContentIssue false

Part V - Sculpture in the Expanded Field

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

Bellandi, Alfredo. “Plasticatori e ceraioli a Firenze tra Quattro e Cinquecento,” in Arti fiorentine. La grande storia dell’artigianato, eds. Franceschi, Franco and Fossi, Gloria, six vols. (Florence: Giunti, 2000), vol. 3, pp. 186223.Google Scholar
Cole, Michael. “The Cult of Materials,” in Revival and Invention: Sculpture through Its Material Histories, ed. Clerbois, Sébastien (Bern: Peter Lang, 2011), pp. 115.Google Scholar
Decorative Plasterwork in Ireland and Europe: Ornament and the Early Modern Interior, eds. Casey, Christine and Lucey, Conor (Dublin: Four Courts Press, 2012).Google Scholar
Elet, Yvonne. Papal Villeggiatura in Early Modern Rome: Poetry, Stucco and Spoils at Raphael’s Villa Madama (Ph.D. dissertation, New York University, 2007).Google Scholar
Gapper, Claire. “What Is ‘Stucco’? English Interpretations of an Italian Term,” Architectural History 42 (1999): 333–43.CrossRefGoogle Scholar
Marchand, Eckart. “Material Distinctions: Plaster, Terracotta, and Wax in the Renaissance Artist’s Workshop,” 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. 160–79.Google Scholar
McHam, Sarah Blake. “Now and Then: Recovering a Sense of Different Values,” in Depth of Field: Relief Sculpture in Renaissance Italy, eds. Cooper, Donal and Leino, Marika (Bern: Peter Lang, 2007), pp. 305–50.Google Scholar
Myssok, Johannes. Bildhauerische Konzeption und plastiches Modell in der Renaissance (Münster: Rhema, 1999).Google Scholar
Rose, Colin, Terpstra, Nicholas et al. DECIMA: The Digitally Encoded Census and Mapping Information Archive, www.decima-map.net.Google Scholar
Weil-Garris, Kathleen. “‘Were This Clay but Marble’; A Reassessment of Emilian Terracotta Group Sculpture,” in Le arti a Bologna e in Emilia dal XVI al XVII secolo, ed. Emiliani, Andrea (Bologna: CLUEB, 1982), pp. 6179.Google Scholar
Zamperini, Alessandra and Luca, Sassi. Stucchi. Capolavori sconosciuti nella storia dell’arte (Vicenza: Sassi, 2012).Google Scholar

Select Bibliography

Bedos-Rezak, Brigitte. When Ego Was Imago: Signs of Identity in the Middle Ages. Visualising the Middle Ages (Leiden and Boston: Brill, 2011).Google Scholar
Bemporad, Dora Liscia. “Nel cantiere del Ghiberti. Un concorso singolare,” in Il Paradiso ritrovato. Il restauro della porta del Ghiberti, ed. Giusti, Annamaria (Florence: Mandragora, 2015), pp. 99107.Google Scholar
Bemporad, Dora Liscia. “I punzoni per il fiorino sulla Porta del Paradiso: Michelozzo e Bernardo Cennini,” Medioevo e rinascimento 20 (2006): 227–43.Google Scholar
Bernocchi, Mario. Le monete della Repubblica fiorentina, five vols. (Florence: L. S. Olschki, 1974–85).Google Scholar
Bloch, Amy. “Baptism, Movement, and Imagery at the Baptistery of San Giovanni in Florence,” in Meaning in Motion, the Semantics of Movement in Medieval Art, eds. Zcholmelidse, Nino and Freni, Giovanni (Princeton, NJ: Princeton University Press, 2011), pp. 131–60.Google Scholar
Goldthwaite, Richard and Mandich, Giulio. Studi sulla moneta fiorentina, secoli XIII–XVI (Florence: L. S. Olschki, 1994).Google Scholar
Lau, Dieter. “Nummi Dei sumus: Beitrag zu einer historischen Münzmetaphorik,” Wiener Studien: Zeitschrift für klassische Philologie und Patristik 93 (1980): 192228.Google Scholar
Il Paradiso ritrovato. Il restauro della porta del Ghiberti, ed. Giusti, Annamaria (Florence: Mandragora, 2015).Google Scholar
Park, Katharine. “Impressed Images: Reproducing Wonders,” in Picturing Science, Producing Art, eds. Galison, Peter and Jones, Caroline A. (New York: Routledge, 1998), pp. 254–71.Google Scholar
Singh, Devin. “Incarnating the Money-Sign: Notes on an Implicit Theopolitics,” Implicit Religion 14 (2011): 129–40.CrossRefGoogle Scholar

Select Bibliography

Blumenröder, Sabine. Andrea Mantegna – die Grisaillen. Malerei, Geschichte und antike Kunst im Paragone des Quattrocento (Berlin: Gebr. Mann Verlag, 2008).Google Scholar
Boorsch, Suzanne. “Mantegna and Engraving: What We Know, What We Don’t Know, and a Few Hypotheses,” in Andrea Mantegna. Impronta del genio, eds. Signorini, Roberto, Rebonato, Viviana, and Tammaccaro, Sara (Florence: Olschki, 2010), pp. 415–38.Google Scholar
Dunkelman, Martha. “Donatello’s Influence on Mantegna’s Early Narrative Scenes,” Art Bulletin 62 (1980): 226–35.Google Scholar
Grabski, Józef. “Dignitas figurae. Andrea Mantegna: interrelazioni fra la scultura e la pittura,” in Mantegna e Roma. L’artista davanti all’antico, eds. Calvano, Teresa, Via, Claudia Cieri, and Ventura, Leandro (Rome: Bulzoni, 2010), pp. 303–38.Google Scholar
Johnson, Geraldine. “Activating the Effigy: Donatello’s Pecci Tomb in Siena Cathedral,” Art Bulletin 77 (1995): 445–59.Google Scholar
Munman, Robert. “Optical Corrections in the Sculpture of Donatello,” Transactions of the American Philosophical Society 75 (1985): 196.Google Scholar
Poeschke, Joachim. Donatello: Figur und Quadro (Munich: Fink, 1980).Google Scholar
Puttfarken, Thomas. The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400–1800 (New Haven, CT: Yale University Press, 2000).Google Scholar
Rosenauer, Artur. Studien zum frühen Donatello: Skulptur im projektiven Raum der Neuzeit (Vienna: Holzhausen, 1975).Google Scholar
Schmarsow, August. Plastik, Malerei und Reliefkunst in ihrem gegenseitigen Verhältnis (Leipzig: Hirzel, 1899).Google Scholar

Select Bibliography

Casciaro, Raffaele. La scultura lignea lombarda del Rinascimento (Milan: Skira, 2000).Google Scholar
Gargiani, Roberto. Princìpi e costruzione nell’architettura italiana del Quattrocento (Rome: Laterza, 2003).Google Scholar
Giovanni Antonio Amadeo. Scultura e architettura del suo tempo, eds. Shell, Janice and Castelfranchi, Liana (Milan: Cisalpino, 1993).Google Scholar
Leino, Marika. “Italian Renaissance Plaquettes and Lombard Architectural Monuments,” Arte lombarda 146/8 (2006): 111–26.Google Scholar
Longsworth, Ellen Louise. “The Renaissance Tomb in Milan,” (Ph.D. dissertation, Boston University, 1987).Google Scholar
I monumenti Borromeo. Scultura lombarda del Rinascimento, ed. Natale, Mauro (Turin: Allemandi, 1997).Google Scholar
Morscheck, Charles. Relief Sculpture for the Façade of the Certosa di Pavia, 1473–1499 (New York: Garland, 1978).Google Scholar
Payne, Alina. “Materiality, Crafting, and Scale in Renaissance Architecture,” Oxford Art Journal 32 (2009): 365–86.CrossRefGoogle Scholar
Schofield, Richard. “Avoiding Rome: An Introduction to Lombard Sculptors and the Antique,” Arte lombarda 100 (1992): 2944.Google Scholar
La scultura decorativa del primo Rinascimento (Rome: Viella, 1983).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
×