During the fifteenth century drawing developed from a subsidiary role in the production of finished paintings to an art form in its own right. In this beautiful book, Francis Ames-Lewis examines the works of the major draughtsmen of the century -- Pisanello, Jacopo Bellini, Pollaiuolo, Ghirlandaio, Carpaccio, and Leonardo -- in order to discuss the new types of drawing that evolved.

Drawing in early Renaissance Italy

Arts & Photography

Ames-Lewis, Francis

Drawing

Yale University Press

Drawing in Early Renaissance Italy

Yale University

During the fifteenth century drawing developed from a subsidiary role in the production of finished paintings to an art form in its own right. In this beautiful book, Francis Ames-Lewis examines the works of the major draughtsmen of the century -- Pisanello, Jacopo Bellini, Pollaiuolo, Ghirlandaio, Carpaccio, and Leonardo -- in order to discuss the new types of drawing that evolved.

History & Criticism

Yale Univ Pr

Contains the individual and team records for each game of every series from the 1930 contest between the Boston Red Sox and the Pittsburgh Pirates to the 1980 series between Philadelphia and Kansas City

The Draftsman Raphael

During the fifteenth century drawing developed from a subsidiary role in the production of finished paintings to an art form in its own right. In this beautiful book, Francis Ames-Lewis examines the works of the major draughtsmen of the century―Pisanello, Jacopo Bellini, Pollaiuolo, Ghirlandaio, Carpaccio, and Leonardo―in order to discuss the new types of drawing that evolved.
“Ames-Lewis’s insight into his chosen subject-matters is impressive; so is his simple and lucid presentation. His enthusiasm and real feeling for these early draughtsmen are very infectious and will no doubt commend this book as a kind of primer for students.”―Keith Andrews, Times Literary Supplement
“An important statement of theory about the drawing’s emergence as a finished and autonomous work of art; it also offers succinct and enlightening description of the purposes, technique and limitations of drawings in silverpoint, pen and ink, chalk and brush, and as such it will assist and educate every collector concerned with this field.”―Godfrey Baker, The Connoisseur
“This pioneering book . . . makes a persuasive case for the study of drawing as vital to a fuller understanding of Early Renaissance art.”―Eve King, Art Book Review

Drawing in Early Renaissance Italy: Revised Edition

The Intellectual Life of the Early Renaissance Artist

Ames-Lewis explores the ways in which painters and sculptors of the early Renaissance began to engage with intellectual questions, as they sought to elevate the craft of painting to a liberal art, like poetry. The cultural environment of the time was increasingly learned, and artists needed to develop their social and intellectual skills as well as artistic talents, which they did through contact with literary men and then by becoming writers - of poetry, biography, treatises and letters - themselves. It was over this period that the idea of the artist as a creative genius with an individual identity surfaced, and the author examines how changes in perception of the artist affected his output.

At the beginning of the fifteenth century, painters and sculptors were seldom regarded as more than artisans and craftsmen, but within little more than a hundred years they had risen to the status of “artist.” This book explores how early Renaissance artists gained recognition for the intellectual foundations of their activities and achieved artistic autonomy from enlightened patrons. A leading authority on Renaissance art, Francis Ames-Lewis traces the ways in which the social and intellectual concerns of painters and sculptors brought about the acceptance of their work as a liberal art, alongside other arts like poetry. He charts the development of the idea of the artist as a creative genius with a distinct identity and individuality. Ames-Lewis examines the various ways that Renaissance artists like Mantegna, Leonardo da Vinci, Raphael, and Dürer, as well as many other less well known painters and sculptors, pressed for intellectual independence. By writing treatises, biographies, poetry, and other literary works, by seeking contacts with humanists and literary men, and by investigating the arts of the classical past, Renaissance artists honed their social graces and broadened their intellectual horizons. They also experienced a growing creative confidence and self-awareness that was expressed in novel self-portraits, works created solely to demonstrate pictorial skills, and monuments to commemorate themselves after death.

Isabella d'Este, the marchioness of Mantua, was a collector of antiquities, a patron of art, and one of the most vivid personalities of the Italian Renaissance. Her artistic relationship with Leonardo da Vinci (1452-1519) is charted through the letters that they exchanged over the course of about six years. Beginning in late 1499, Leonardo spent several months in Mantua, where he met Isabella and produced a finished portrait drawing of her. In the years that followed, the marchioness wrote to the artist to ask him to undertake other paintings and projects. Though little came of these requests, da Vinci did produce a drawing of some classical hard-stone vases to assist her search for collectible antiques and also started work on a painting of Christ as a twelve-year-old boy at her request.
The story of their relationship is explored in depth for the first time in Isabella and Leonardo. This illuminating story raises interesting and important questions about relationships between artists and patrons, and about women as art patrons at the beginning of the 16th century.

Isabella and Leonardo: The Artistic Relationship between Isabella d’Este and Leonardo da Vinci, 1500-1506

Drawing in the Italian Renaissance workshop: An exhibition of early Renaissance drawings from collections in Great Britain held at the University Art ... with the Arts Council of Great Britain

Victoria and Albert Museum

Fine copy in the original color-printed, stiff-card wrappers. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered.; 8vo 8" - 9" tall; 328 pages; Description: 328 p. : ill. ; 27 cm. Subjects: Drawing, Italian --15th century --Exhibitions --Drawing, Renaissance --Italy --Drawing --Collectors and collecting --Great Britain.

See the best price to sell, buy, or rent books by Ames-Lewis, Francis. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Ames-Lewis, Francis

See the best price to sell, buy, or rent books by Ames-Lewis, Francis. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Drawing in early Renaissance Italy

Drawing in Early Renaissance Italy

Drawing in Early Renaissance Italy

The Draftsman Raphael

Drawing in Early Renaissance Italy: Revised Edition

The Intellectual Life of the Early Renaissance Artist

The Intellectual Life of the Early Renaissance Artist

Isabella and Leonardo: The Artistic Relationship between Isabella d’Este and Leonardo da Vinci, 1500-1506

Drawing in the Italian Renaissance workshop: An exhibition of early Renaissance drawings from collections in Great Britain held at the University Art ... with the Arts Council of Great Britain

Drawing in the Italian Renaissance workshop: An exhibition of early Renaissance drawings from collections in Great Britain held at the University Art ... with the Arts Council of Great Britain