Illustration list
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- Clarke
- Gombrich, Ernst. Art and Illusion: a study in the psychology of pictorial representation. London: Phaidon, 1972. Greenblatt
- Harcourt
- Hollander, Anne. Seeing Through Clothes. Berkely; London: University of California Press, 1993. Hope
- Jenkins, Ian. Defining Beauty: the body in ancient Greek art. London: British Museum, 2015. Joannides
- Koerner
- Laing
- Nead, Lynda. The Female Nude: art, obscenity and sexuality. London; New York: Routledge, 1992. Panofsky
- Ragghianti Collobi, Licia. Il Libro de’Disegni del Vasari: Index. Florence: Vallecchi, 1974. Ragghianti Collobi
- Seymour, Slive. Rembrandt and his Critics. Hague: M. Nijhoff, 1953. Sluijter
- Sluijter
- Tinagli
- De Tolnay
- Williams
Burke, Peter. ‘Representations of the Self from Petrarch to Descartes.’ In: Porter, Roy. (ed.)
London; New York: Routledge, 1997: 17-29. Cadagon J. K. ‘From Relief to Mimesis: drawing the human figure from life and from antique sculpture in the Renaissance.’ In: Kwakkelstein, Michael, K; Melli, Lorenza (eds).
Florence: Centro Di, 2012: 195-213. Chapman, Hugo. ‘The Wooden Body: representing the manikin in Dutch artist’s studios.’ In: Netherlands Yearbook for History of Art. Vol. 58 (2007): 188-216. Clarke, Kenneth. The Nude: a study in ideal form. New York: Pantheon Books, 1956. Clarke, Kenneth. Rembrandt and the Italian Renaissance. London: Murray, 1966. Conway, William Martin. Literary Remains of Albrecht Durer. Cambridge: Cambridge University Press. 1889. Cummings, Brian. Mortal Thoughts: religion, secularity and identity in Shakespeare and early modern culture. Oxford: Oxford University Press, 2013. Feigenbaum, Gail. ‘Practice in the Carracci Academy.’ In: Lukehart, Peter M. (ed.)
Washington: University Press of New England, 1993: 59-79. Gay, Lorenza. ‘Aspects of Nudity in Profane Art and Literature in Fifteenth and Sixteenth Century Italy.’ MA Thesis, The Warburg Institute, 2014.
Oxford: Oxford University Press, 1998. De Girolami Cheny, Liana. ‘Giorgio Vasari: Artist, Designer, Collector.’ In: Cast, David (ed.)
Farnham: Ashgate Publishing Ltd., 2014: 41-77. Goldstein, Carl. Visual Fact over Verbal Fiction: a study of the Carracci and the criticism, theory, and practice of art in Renaissance and Baroque Italy. Cambridge; New York: Cambridge University Press, 1988. Gombrich, Ernst. Art and Illusion: a study in the psychology of pictorial representation. London: Phaidon, 1972. Greenblatt, Stephen. Renaissance Self-Fashioning: from More to Shakespeare. Chicago: The University of Chicago Press, 2005. Guerzoni, Guido, G. ‘The erotic fantasies of a model clerk: amateur pornography at the beginning of the Cinquecento.’ In: Matthews-Grieco, Sarah, F. (ed.)
Farnham: Ashgate Publishing Ltd., 2010: 61-89. Harcourt, Glenn. ‘Andreas Vesalius and the Anatomy of Antique Sculpture.’ In: Representations, 17 (Special Issue: The Cultural Display of the Body’): 28-61.
‘Male Nudity in Northern Italian Painting of the Sixteenth and Early Seventeenth-Centuries.’ In: De Clippel, Karolien; Van Cauteren, Katharina; Van der Stighelen, Katlijne (eds). The Nude and the Norm in the Early Modern Low Countries. Turnhout: Brepols, 2011: 131-159. Held, Julius Samuel. ‘The Early Appreciation of Drawings.’ Offprint from: Studies in Western Art. Acts of the twentieth international congress of the history of art. 1961.
Berkely; London: University of California Press, 1993. Hope, Charles. ‘Classical antiquity and Venetian Renaissance subject matter.’ In: Ames-Lewis, Francis (ed.)
London: Birkbeck College, 1994: 51-63. Hurwitt, Jeffrey, M. ‘The Problem with Dexileos: Heroic and Other Nudities in Greek Art.’ American Journal of Archeology. Vol. 111, No. 1 (2007): 35-60. Jenkins, Ian. Defining Beauty: the body in ancient Greek art. London: British Museum, 2015. Joannides, Paul. Titian to 1518: the assumption of genius. London: Yale University Press, 2001. De Jongh, Eddy. ‘The Model Woman and the Women of Flesh and Blood.’ In: Williams, Julia Lloyd (ed.)
Edinburgh: National Gallery of Scotland in collaboration with the Royal Academy of Arts, London, 2001: 29-37. Koerner, Joseph Leo. The Moment of Self-Portraiture in German Renaissance Art. Chicago; London: University of Chicago Press, 1993. Kok, Erna. ‘The Female Nude from Life: on studio practice and beholder fantasy.’ In: De Clippel, Karolien; Van Cauteren, Katharina; Van der Stighelen, Katlijne (eds).
Turnhout: Brepols, 2011: 35-51. Kornell, M. ‘Drawings for Bartolomeo Passarotti’s Book of Anatomy.’ In: Currie, Stuart (ed.)
Aldershot: Ashgate Publishing Ltd., 1998: 172-189. Laing, Ronald, D. The Divided Self. London: Penguin Classics, 2010. Lambert, Susan. Drawing: technique and purpose. London: Victoria & Albert Museum, 1981. Latour, A. ‘Paper, a Historical Outline.’ In: Ciba Review no. 72: Paper. Basle; Switzerland: CIBA, 1949: 2630-2641. Lee, Rensselaer Wright. Ut Pictura Poesis: the humanistic theory of painting. New York: W. W. Norton, 1967. Lewine, Milton, J. ‘The Carracci: a family academy.’ In: Hess, Thomas. & Ashberry, John (eds)
New York: The Macmillan Company, 1967: 19-29. Lindquist, Sherry. ‘The Meanings of Nudity in Medieval Art: An Introduction.’ In: Linquist, Sherry (ed.)
Farnham: Ashgate Publishing Ltd, 2012: 1-47. Manuth, Volker “As stark naked as someone could possibly be painted…’ the representation of the female model in the age of Rembrandt.’ In: Williams, Julia Lloyd.
Edinburgh: National Gallery of Scotland in collaboration with the Royal Academy of Arts, 2001: 48-55. Martin, John Jeffries. ‘The Myth of Renaissance Individualism.’ In: Ruggiero, Guido (ed.)
Malden; Oxford; Victoria: Blackwell Publishing Ltd, 2007: 208-225. Nead, Lynda. The Female Nude: art, obscenity and sexuality. London; New York: Routledge, 1992. Panofsky, Erwin. Meaning in the Visual Arts: papers in and on art history. New York: Doubleday, 1955. Panofsky, Erwin. The Life and Art of Albrecht Dürer. Princeton: Princeton University Press, 1955. Petherbridge, Deanna. The Primacy of Drawing: histories and theories of practice. New Haven; Conneticut; London: Yale University Press, 2010. Pollmer-Schmidt, Almut. ‘From all Sides: man and measurement in Durer’s work.’ In: Sander, Jochen (ed.)
Munich: Prestel, 2013. Ragghianti Collobi, Licia. Il Libro de’Disegni del Vasari: Index. Florence: Vallecchi, 1974. Ragghianti Collobi, Licia. Il Libro de’Disegni del Vasari: Images. Florence: Vallecchi, 1974. Randolph, Adrain W. B. Touching Objects: intimate experiences of Italian fifteenth-century art. New Haven; London: Yale University Press, 2014. Rijser, David. ‘The Practical Function of High Renaissance Epigram: the Case of Raphael’s Grave.’ In: de Beer, Susanna; Enenkel, K. A. E; Rijser, David (eds).
Leuven: Leuven University Press, 2009: 103-137. Ryle, Gilbert. The Concept of the Mind. Harmondsworth: Penguin, 1973. Sancho Lobis, Victoria. ‘Printed Drawing Books and the Dissemination of Ideal Male Anatomy in Northern Europe.’ In: De Clippel, Karolien; Van Cauteren, Katharina; Van der Stighelen, Katlijne (eds).
Turnhout: Brepols, 2011: 51-64. Santing, Catrien. ‘Andreas Vesalius’ ‘De fabrica corporis humana,’ depiction of the human model in word and image.’ In: Netherlands Yearbook for the History of Art. Vol. 58 (2007): 58-86. Sawday, Jonathan. ‘Self and Selfhood in the Seventeenth Century.’ In: Porter, Roy (ed.)
London; New York: Routledge, 1997: 29-49. Seymour, Slive. Rembrandt and his Critics. Hague: M. Nijhoff, 1953. Sluijter, Eric Jan. ‘Horrible Nature, Incomparable Art: Rembrandt and the depiction of the female nude.’ In: Williams, Julia Lloyd (ed.)
Edinburgh: National Gallery of Scotland in collaboration with the Royal Academy of Arts, London, 2001: 37-48. Sluijter, Eric Jan. Rembrandt and the Female Nude. Amsterdam: Amsterdam University Press, 2006. Sluijter, Eric Jan. ‘The Nude, the Artist and the Model: the case of Rembrandt.’ In: De Clippel, Karolien; Van Cauteren, Katharina; Van der Stighelen, Katlijne (eds).
Turnhout: Brepols, 2011: 11-35. Storey, Tessa. ‘Courtesan culture: manhood, honour and sociability.’ In: Matthews-Grieco, Sarah, F. (ed.)
Farnham: Ashgate Publishing Ltd., 2010: 247-275. Tinagli, Paola. Women in Italian Renaissance Art: gender, representation, and identity. New York: Manchester University Press, 1997. Tobin, Richard. ‘The Canon of Polykleitos.’ American Journal of Archeology. Vol. 79, No. 4 (1975): 307-321. De Tolnay, Charles. History and Technique of Old Master Drawings: a handbook. New York: H. Bittner and Company, 1943. Williams, Julia Lloyd. ‘Catalogue.’ In: Williams, Julia Lloyd.
Edinburgh: National Gallery of Scotland in collaboration with the Royal Academy of Arts, London, 2001: 65-245. Williams, Robert. Art, Theory and Culture in Sixteenth-Century Italy: from techne to metatechne. Cambridge; New York: Cambridge University Press, 1997. Wood, Christopher, S. ‘Indoor-Outdoor: the studio around 1500.’ In: Cole, Michael; Pardo, Mary (eds)
London: University of North Carolina Press, 2005: 36-73. 1 Berger, J. (1972) Ways of Seeing. 54. 2 For a contemporary criticism of Michelangelo’s lack of variety see: Dolce, L. ‘Aretino.’ In: Roskill, M.W. (trans. 2000) Dolce’s Aretino and Venetian art theory of the Cinquecento. 163. 3 See: Alberti, L. B. De pictura. Grayson, C. (ed. 1975) II.40. 4 Laing, R. D. (2010) The Divided Self. 66-7. 5 Ibid, 69. 6 Ryle, G. (1973) The Concept of the Mind. 17. 7 See: Burckhardt, J. (1860) Die Cultur der Renaissance in Italien. 8 Martin, J. J. ‘The Myth of Renaissance Individualism.’ In: Ruggiero, G. (ed. 2007) A Companion to the Worlds of the Renaissance. 211. 9 Ibid, 208-9. 10 Ibid, 210-11. 11 Burke, P. ‘Representations of the Self from Petrarch to Descartes.’ In: Porter, R. (ed. 1997) Rewriting the Self: histories from the Renaissance to the present. 25-6. 12 Erasmus, D. De pueris instituendis. Verstraete, B. C. (trans. 1985) 304. 13 Greenblatt, S. (2005) Renaissance Self-Fashioning: from More to Shakespeare. 2. 14 Burke, 1997, 19. 15 See: Alberti, 1975, II.40. 16 Castiglione, B. The Book of the Courtier. Bull, G. (trans. 1967) 138. 17 Martin, 2007, 214. 18 Donne, J. ‘Meditation XVII.’ In: Devotions upon Emergent Occasions Together with Death’s Duel. Motion, A. (ed. 1986) 108. 19 Hurwitt, J. M. (2007) ‘The Problem with Dexileos: Heroic and Other Nudities in Greek Art.’ In: American Journal of Archeology. 111 (1.) 57. 20 Clarke, K. (1956) The Nude: a study in ideal form. 23. 21 Gay, L. (MA thesis, 2014) ‘Aspects of Nudity in Profane Art and Literature in Fifteenth and Sixteenth Century Italy.’ 3. 22 See: Jenkins, I. (2015) Defining Beauty: the body in ancient Greek Art. 23 See: Linquist, S. ‘The Meanings of Nudity in Medieval Art: An Introduction.’ In: Lindquist, S. (ed. 2012) The Meanings of Nudity in Medieval Art. 24 Gay, 2014, 5. 25 Ibid, 37. 26 Boccaccio, G. On Famous Women. Guarino, G. A. (trans. 2011) LXIV. 27 Cartari, V. Le imagini de i dei de gli antichi. Auzzas, G; Martignago, F; Stocchi, M. P; Rigo, P. (eds 1996) 14. 28 Gay, 2014, 26. 29 Allegories in Ripa’s Iconologia specifically described as ignudo/ ignuda or nudo/ nuda show nudity taking on both positive and negative meanings: virtue; beauty; clarity; dawn; love, judgement; grace of God; intelligence; permission; merit; August; America; nature; promptness; human knowledge; sense; sin; truth; contemplation; conversion; natural instinct; predestination. 30 Berger, 1972, 54. 31 Gay, 2014, 7. 32 Clarke, 1956, 3. 33 Genesis 3.7. 34 Berger, 1972, 54. 35 Pino, P. Dialogo di pittura. Pallucchini, R. & E. (eds 1946) 105. 36 Philostratus the Younger. ‘Imagines.’ In: Fairbanks, A. (trans. 1931) Philostratus, Imagines: Callistratus, Descriptions. 283. 37 See: Dolce, 2000, 98. 38 Aristotle. Politics. Jowett, B. (trans. 2009) VIII.II. 39 Armenini, G. B. On the True Precepts of the Art of Painting. Olszewski, E. J. (trans. 1977) 112. 40 Da Vinci, L. Trattato della pittura. Camesasca, E. (ed. 2000) 266: ‘Piacemi bene che tu fugga le cose mostruose, come di gambe lunghe, busti corti, petti stretti e braccia lunghe.’ 41 De Bisschop, J. ‘Paradigmata.’ Van Gelder, J. G; Jost, I. (1985) Jan de Bisschop and his Icones and Paradigmata. 227. 42 Bembo, P. Cited and translated in Rijser, D. ‘The Practical Function of High Renaissance Epigram: the Case of Raphael’s Grave. In: de Beer, S; Enenkel, K. A. E; Rijser, D. (eds 2009) The Neo-Latin Epigram: a learned and witty genre. 125. 43 Alberti, 1975, III.55. 44 Ibid, II.40. 45 Plato. The Republic. Jowett, B. (trans.) VII. 46 Alberti, 1975, III.55. 47 Dolce, 2000, 131. 48 Alberti, 1975, III.56: ‘…pertanto di tutta la gioventù di quella terra elesse cinque fanciulle le più belle, per torre da queste qualunque bellezza lodata in una femmina.’ 49 Berger, 1972, 62. 50 See: Aristotle. Rhetoric. III.VII. 51 Horace. Cited by Dolce in: Roskill, 2000, 125. 52 Alberti, 1975, II.41-5. 53 Da Vinci, 2000, 323: ‘Si pronunzino gli atti degli uomini secondo le loro età e dignita, e si variino secondo le specie, cioe de’maschi e delle femmine.’ 54 Lomazzo, G.P. (1785) Idea del tempio della pittura. V. 55 Da Vinci, 2000, 373. 56 Williams, R. (1997) Art, Theory and Culture in Sixteenth-Century Italy: from techne to metatechne. 92-3. 57 Blunt, A. (1940) Artistic Theory in Italy: 1450-1600. 126-7. 58 Lee, R. W. (1967) Ut Pictura Poesis: the humanistic theory of painting. 36. 59 Wood, C. S. ‘Indoor-Outdoor: the studio around 1500.’ In: Cole, M; Pardo, M. (eds 2005) Inventions of the Studio, Renaissance to Romanticism. 53. 60 Breazeale, W. ‘Introduction.’ In: Anderson, S; Andersson, C; Breazeale, W; Giviskos, C. (eds 2008) The Language of the Nude: four centuries of drawing the human body. 16. 61 Van Mander, K. Cited in: Chapman, H. (2007) ‘The Wooden Body: representing the manikin in Dutch artist’s studios.’ In: Netherlands Yearbook for History of Art. 58. 191. 62 Alberti, 1975, II.36. 63 Da Vinci, 2000, II.45: ‘Il giovane deve prima imparare…di mano di buon maestro, per assuefarsi a buone membra; poi dal naturale…’ 64 Vasari. On Technique. Maclehose, L. (trans. 1960) 207-8. 65 Ridolfi, C. The Life of Tintoretto. Enggass C. & R. (trans 1984) 16. 66 Vasari, G. Vite. IV. de Vere, G. (trans. 1912-15) 243. 67 See: Cennini, C. (1943) Il Libro dell’Arte. XXVIII. 68 Van Mander. Cited in: Houbraken A. (1718-21) ‘Life of Rembrandt.’ In: Ford, C. (ed. 2007) Lives of Rembrandt by Joachim von Sandrart, Filippo Baldinucci, and Arnold Houbraken. 79-81. 69 Breazeale, W. ‘Ideals and Masters: the nude in Italy 1530-1800.’ In: Anderson et al., 2008, 11. 70 Chapman, 2007, 189-191. 71 Filarete. Trattato di architettura. Finoli, A. M; Grassi, L. (eds 1972.) XXIV. 72 See: van de Passe, C. (1973) t’ Licht der teken en schilderkonst. Section IV, illustrations I, II & III. 73 See: Chapman, 2007, 206-11 for painted depictions of the lay figure. 74 Chapman, 2007, 206. 75 Petherbridge, D. (2010) The Primacy of Drawing: histories and theories of practice. 236. 76 Bolten, J. (1985) Method and Practice: Dutch and Flemish drawing books 1600-1750. 159. 77 Ibid, 11. 78 Petherbridge, 2010, 245. 79 Sancho Lobis, V. S. ‘Printed Drawing Books and the Dissemination of Ideal Male Anatomy in Northern Europe.’ In: De Clippel, et al., 2011, 52. 80 Dolce, 2000, 137. 81 Panofsky, E. (1955) Meaning in the Visual Arts: papers in and on art history. 89. 82 For an elaboration on these theories see: Ibid, 90-2. 83 Dolce, 2000, 101. 84 Ripa, C. Iconologia. I. Buscaroli, P. (ed. 1988.) 65. 85 See: Alberti, 1975, II.36. 86 Santing. C. (2007) ‘Andreas Vesalius’ ‘De fabrica corporis humana,’ depiction of the human model in word and image.’ In: Netherlands Yearbook for the History of Art. 58. 61. 87 Tobin, R. (1975) ‘The Canon of Polykleitos.’ American Journal of Archeology. 79 (4.) 307. 88 Santing, 2007, 62. 89 Bolten, 1985, 161. 90 Ibid, 208. 91 Bolten, J. ‘Introduction.’ In: van de Passe, 1973, 7. 92 Panofsky, E. (1955) The Life and Art of Albrecht Dürer. 263. 93 Conway, W. M. (1889) Literary Remains of Albrecht Dürer. 165-66. 94 Koerner, J. L. (1993) The Moment of Self-Portraiture in German Renaissance Art. 197. 95 Santing, 2007, 63. 96 Clarke, 1956, 19. 97 Pollmer-Schmidt, A. ‘From all Sides: man and measurement in Dürer’s work.’ In: Sander, J. (ed. 2013) Albrecht Dürer: his art in context. 164. 98 Ibid, 124. 99 Panofsky, 1955, Albrecht Dürer, 267. 100 Bernstein, J. G. (1992) ‘The Female Model and the Renaissance Nude: Dürer, Giorgione, and Raphael.’ Download 444.91 Kb. Share with your friends:
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