By Cordelia Warr, Janis Elliott
Frequently overshadowed by means of the towns of Florence and Rome in art-historical literature, this quantity argues for the significance of Naples as a creative and cultural centre, demonstrating the breadth and wealth of creative event in the city.* Generously illustrated with a few illustrations in particular commissioned for this ebook* Questions the conventional definitions of 'cultural centres' that have ended in the overlook of Naples as a centre of creative significance* an important addition to the English-language scholarship on artwork in Naples
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Additional resources for Art and Architecture in Naples, 1266-1713: New Approaches (Art History Special Issues)
Also enhanced the historical myth-making about the city of Florence which is at the heart of The Lives. In the Life of Michelangelo Vasari connects different generations of the Medici in order to create an impression of political stability and continuity in Florence. By linking artistic and political history in the Life of Michelangelo Vasari invents a smooth and natural transition for the city of Florence from a republic in the time of Lorenzo de’ Medici to the ducal court of Cosimo de’ Medici.
See George L. uden der Renaissance, Munich, 2000, 30–58. See Leone de Castris, Pittura del Cinquecento a Napoli, 1540–1573, 85–134. , Marco Pino: un protagonista della ‘maniera moderna’ a Napoli restauri nel centro storico, Naples, 2003. Giovan Tommaso di Malvito formed part of a ﬂourishing community of Lombard artists in Naples. Abbate, La Scultura napoletana, 3–66; Yoni Ascher, ‘Tommaso Malvito and Neapolitan Tomb Design of the Early Cinquecento’, Journal of the Warburg and Courtauld Institutes, 63, 2000, 111–30.
Vasari, Le vite, vol. 3, 3– 19. For further discussion of the structure of Vasari’s text, see Rubin, Giorgio Vasari, 1–7. Eric Fernie, Art History and its Methods. A Critical Anthology, London, 1995, 26. On Cavallini, see Alessandro Tomei, Pietro Caval lini, Milan, 2000, 120–33; and Cathleen Fleck, ‘The Rise of the Court Artist: Cavallini and Giotto in Fourteenth-Century Naples’, in this volume. I thank Cathleen Fleck for providing me with a copy of her chapter prior to publication. On Tino di Camaino, see Ottavio Morisani, Tino di Camaino a Napoli, Naples, 1945; Julian Gardner, ‘A Princess among Prelates: A Fourteenth-Century Neapo litan Tomb and some Northern Relations’, Ro¨misches Jahrbuch fu.
Art and Architecture in Naples, 1266-1713: New Approaches (Art History Special Issues) by Cordelia Warr, Janis Elliott