scholarly journals A Handbook of Italian Renaissance Painting

Parnassus ◽  
1939 ◽  
Vol 11 (5) ◽  
pp. 48
Author(s):  
A. Philip McMahon ◽  
Laurence Schmeckebier
Keyword(s):  
Italian Renaissance ◽  
Renaissance Painting

Reading Martin Jane’s “Skopic Regimes of Modernity”

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Vyara Popova ◽  
Keyword(s):  
Visual Perception ◽  
17Th Century ◽  
Italian Renaissance ◽  
Research Issues ◽  
Visual Research ◽  
Renaissance Painting ◽  
The Way

The work builds on Martin Jane’s text “Skopic Regimes of Modernity” and follows the set rhythm. Text has a fund of physical, physiological, psychological, artistic, and artistic knowledge as a broad culturalgnoseological network of information tendentiously put into the notes; it produces a resource for constantly correlating meaningfully and referring to it focuses on their own visual research issues. In this way, it can bring the vision of a dominant sense to perception in no way as conception, presentation, understanding of reality, and the way this visual perception is expressed in the Italian Renaissance painting and in the Flemish one from the 17th century.

scholarly journals Classical Myths in Italian Renaissance Painting

2013 ◽  
Vol 36 (3) ◽  
pp. 164-166
Author(s):  
Luba Freedman (book author) ◽  
Giancarla Periti (review author)
Keyword(s):  
Italian Renaissance ◽  
Renaissance Painting ◽  
Classical Myths

In Pursuit of an American Image: A History of the Italian Renaissance for Harvard Architecture Students at the Turn of the Twentieth Century

Prospects ◽  
2004 ◽  
Vol 28 ◽  
pp. 185-202
Author(s):  
Maureen Meister
Keyword(s):  
Twentieth Century ◽  
Henry James ◽  
Adult Life ◽  
Italian Renaissance ◽  
Renaissance Architecture ◽  
Renaissance Painting ◽  
History Of ◽  
Harvard Architecture

After a five-month sojourn in Rome, the author Henry James departed with “an acquired passion for the place.” The year was 1873, and he wrote eloquently of his ardor, expressing appreciation for the beauty in the “solemn vistas” of the Vatican, the “gorgeous” Gesù church, and the “wondrous” Villa Madama. Such were the impressions of a Bostonian who spent much of his adult life in Europe. By contrast, in June of 1885, the young Boston architect Herbert Langford Warren wrote to his brother about how he was “glad to be out of Italy.” He had just concluded a four-month tour there. He had also visited England and France, and he was convinced that the architecture and sculpture of those countries were superior to what he had seen in Italy, although he admired Italian Renaissance painting. When still in Rome, he told his brother how disagreeable he found the “Renaissance architecture in Italy contemporary with Michael Angelo and later under Palladio and Vignola,” preferring the work of English architects Inigo Jones and Wren. Warren appreciated some aspects of the Italian buildings of the 15th and early 16th centuries, but he considered the grandeur and opulence of later Renaissance architecture especially distasteful.

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