Practice and Theory in the Italian Renaissance Workshop
Practice and Theory in the Italian Renaissance Workshop
£110.00
GBPVerrocchio was arguably the most important sculptor between Donatello and Michelangelo but he has seldom been treated as such in art historical literature because his achievements were quickly superseded by the artists who followed him. He was the master of Leonardo da Vinci, but he is remembered as the sulky teacher that his star pupil did not need. In this book, Christina Neilson argues that Verrocchio was one of the most experimental artists in fifteenth-century Florence, itself one of the most innovative centers of artistic production in Europe. Considering the different media in which the artist worked in dialogue with one another (sculpture, painting, and drawing), she offers an analysis of Verrocchio's unusual methods of manufacture. Neilson shows that, for Verrocchio, making was a form of knowledge and that techniques of making can be read as systems of knowledge. By studying Verrocchio's technical processes, she demonstrates how an artist's theoretical commitments can be uncovered, even in the absence of a written treatise.
- Introduces Verrocchio in a new way and places Verrocchio in the broader context of artistic experimentation of fifteenth-century Florence
- Considers the different media Verrocchio worked on in dialogue with each other
- Presents artistic practice as an expression of ideas (economic, religious, poetic, etc.) with ramifications beyond this specific artist
Product details
July 2019Adobe eBook Reader
9781316805220
0 pages
0kg
146 b/w illus.
This ISBN is for an eBook version which is distributed on our behalf by a third party.
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Table of Contents
- Introduction
- 1. Verrocchio's ingenuity
- 2. Verrocchio's Medici Tomb: art as treatise
- 3. Bridging dimensions: Verrocchio's Christ and Saint Thomas as absent presence
- 4. The sculptured imagination
- 5. Material meditations in Verrocchio's Bargello Crucifix
- Conclusion
- A note on archival sources
- Bibliography
- Index.
