<p>Since Vasari, the artists of the Italian Renaissance have been characterized in superhuman terms, suggesting that they were responsible both for the conceptualization, as well as demanding execution of the creative output. In Drawing and Painting in the Italian Renaissance Workshop, Carmen Bambach reassesses the role of artists and their assistants in the creation of monumental painting. Analyzing representative wall paintings and the many drawings related to the various stages of their production, Bambach convincingly reconstructs the development of workshop practice and design theory in the early modern period. She establishes that between 1430 and 1600, cartoons - drawings ostensibly of a utilitarian nature - became common practice, and, moreover, moved to the forefront of artistic expression. Her exhaustive analysis of archaeological evidence as well as textual evidence provides a timely and much-needed re-assessment of the working methods of artists in one of the most vital periods in the history of art.</p>

Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300–1600

Arts & Photography

Bambach, Carmen

History & Criticism

Cambridge University Press

Genoa, well known as a seaport established in ancient times and as the birthplace of Christopher Columbus, emerged as a major artistic center toward the middle of the sixteenth century, sparked by the sea lord Andrea Doria's political leadership and ready patronage and the artist Perino del Vaga's arrival from Rome. The technically masterful, even boldly experimental, drawings and prints in this exhibition illustrate Genoa's growth by the early seventeenth century into an important regional artistic school. Some of the drawings were made as independent works of art, as for instance ones by Giovanni Benedetto Castiglione, characterized by rich painterliness and dramatic content. Many sheets are preparatory drawings, which eloquently describe the Genoese tradition of illusionistic fresco painting that unfolded almost in its entirety within the splendid interiors of the new churches and palazzi erected on the Via Balbi and Strada Nuova (now Via Garibaldi). In addition to better-known artists—Luca Cambiaso, Giovanni Benedetto Castiglione, Giovanni Battista Gaulli (Baciccio), Bernardo Strozzi, for example—the exhibition includes less-studied Genoese artists, such as Carlo Alberto Baratta, Giulio Benso, Bartolomeo Biscaino, Bernardo and Valerio Castello, Giovanni David, and Gregorio and Lorenzo de Ferrari, all of whom significantly influenced other artists both in Genoa and elsewhere in Italy.A number of years before his death, Jacob Bean, then Drue Heinz Curator of the Department of Drawings, envisioned an exhibition of drawings and prints selected from New York collections that would highlight the work of Genoese artists between 1530 and 1800. Not only was Jacob very much the conceptual force behind the present exhibition, but he and the late Lawrence Turči&cacute;, then assistant curator, were also noted connoisseurs of Genoese drawings. Their discoveries are attested to by a large, mostly unpublished dossier of attributions to Genoese artists made during the course of more than a decade and kept in the archives of the Department of Drawings and Prints. It is in their memory that this exhibition has been mounted, with works selected by William Griswold, Nadine Orenstein, and Carmen Bambach, the latter two of whom also prepared the catalogue entries. [This book was originally published in 1996 and has gone out of print. This edition is a print-on-demand version of the original book.]

Genoa: Drawings and Prints, 1530-1800

Metropolitan Museum Of Art (new York, N.y.)

Griswold, William

Orenstein, Nadine

Cappel, Carmen Bambach

Metropolitan Museum of Art

This catalogue brings together approximately 80 of the roughly 150 extant sheets by Filippino Lippi (1457/8-1504). Seven authors, all experts in the field, provide essays and entries on every drawing included, each of which is reproduced in color.

The Drawings of Filippino Lippi and His Circle

Cecchi, Alessandro

Goldner, George R.

Lippi, Filippino

Collections, Catalogs & Exhibitions

<p>Leonardo da Vinci (1452-1519) stands as a supreme icon in the history of Western civilization. With much of his work lost or unfinished, the key to his legacy is without doubt to be found in the enormous body of his extant drawings and accompanying manuscript notes. Famous for their beauty and technical virtuosity, Leonardo's drawings were avidly sought by collectors even during his lifetime. This volume offers a portrait of Leonardo as a draftsman, integrating his diverse roles as an artist, scientist, inventor, theorist and teacher. A chronological framework is also provided in order to shed light on his extraordinary life and career. The essays and entries - written by the world's leading Leonardo scholars - survey the wide variety of drawing types that Leonardo used and also examine a small group of works by artists critical to his artistic development in Florence and to his multifaceted activity in Milan.</p>

Leonardo Da Vinci, Master Draftsman

Leonardo, Da Vinci

Stern, Rachel

Manges, Alison

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