"This publication features current scholarly work undertaken by former pupils of Sarah Blake McHam and exhibits a wide ranging discussion of Italian art from the trecento to the early seventeenth century, covering works in various media but primarily sculpture"--Provided by publisher.
What Philippa Gregory has done for Tudor England, Jeanne Kalogridis does for Renaissance Italy. Her latest irresistible historical novel is about a countess whose passion and willfulness knew no bounds—Caterina Sforza Daughter of the Duke of Milan and wife of the conniving Count Girolamo Riario, Caterina Sforza was the bravest warrior Renaissance Italy ever knew. She ruled her own lands, fought her own battles, and openly took lovers whenever she pleased. Her remarkable tale is told by her lady-in-waiting, Dea, a woman knowledgeable in reading the "triumph cards," the predecessor of modern-day Tarot. As Dea tries to unravel the truth about her husband's murder, Caterina single-handedly holds off invaders who would steal her title and lands. However, Dea's reading of the cards reveals that Caterina cannot withstand a third and final invader—none other than Cesare Borgia, son of the corrupt Pope Alexander VI, who has an old score to settle with Caterina. Trapped inside the Fortress at Ravaldino as Borgia's cannons pound the walls, Dea reviews Caterina's scandalous past and struggles to understand their joint destiny, while Caterina valiantly tries to fight off Borgia's unconquerable army.
Brian Michael Bendis, co-creator of Miles Morales, Naomi, and Jessica Jones, teams up with his superstar co-creator and Iron Man and Daredevil collaborator Alex Maleev in this complete omnibus collection of their fearless political thriller set in the seedy underbelly of Portland, Oregon. A young woman is pushed to the edge by a world filled by police brutality, government corruption, and unspeakable crimes. After a mysterious murder and a near-death experience, Scarlet Rue wakes from a coma with her world shattered. Fueled by rage, guilt, and her vision of a better future; she takes the fight to her oppressors... and anyone else who gets in her way. Striking back against the corrupt cops who tore her life apart and sparks an uprising in this all too real tale of power, corruption, and lies. Collects the complete Scarlet: Series I issues #1-10 and Series II #1-5. Complete with behind the scenes material, sketches, and design concepts from both Bendis and illustrator Alex Maleev.
A new darkness is rising in Belterra. This dark and thrilling vampire romance—set in the world of the New York Times bestselling Serpent & Dove series—is perfect for fans of Sarah J. Maas. Six months have passed since Célie took her sacred vows and joined the ranks of the Chasseurs as their first huntswoman. With her fiancé Jean Luc as captain, she is determined to find her foothold in her new role and help protect Belterra. But whispers from her past still haunt her, and a new evil is rising—one that Célie herself must vanquish, unless she falls prey to the darkness.
Set in the post-Civil War South on Blue Brook Plantation, Scarlet Sister Mary tells the story of Mary, a fifteen-year-old orphan girl in a close-knit Gullah community. As she prepares to marry the charismatic but unreliable July, Mary finds herself torn between tradition and her own desires. Love, community, and superstition intertwine as Mary learns who and what truly matter to her. Scarlet Sister Mary, written at the height of the Harlem Renaissance, is notable for its depiction of African-American life, particularly the Gullah people; and especially so because it was written by a white author, something very unusual for the era. It won Julia Peterkin the Pulitzer Prize for Fiction in 1929. The Pulitzer was not without controversy. The jury chair had spoken publicly of another candidate, Victim and Victor by John Rathbone Oliver, as his favorite for the prize, which was reported in Publishers’ Weekly as being the actual announcement of the winner. Shortly afterward, The New York Times published an article by the head of the Advisory Board refuting Publishers’ Weekly. Ultimately, the Advisory Board chose Scarlet Sister Mary as the winner and, subsequently, the jury chair resigned. Despite this, the novel remains a noteworthy part of the early 20th-century conversation on race and Southern literature. This book is part of the Standard Ebooks project, which produces free public domain ebooks.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
A fascinating and counterintuitive portrait of the sordid, hidden world behind the dazzling artwork of Michelangelo, Leonardo da Vinci, Botticelli, and more Renowned as a period of cultural rebirth and artistic innovation, the Renaissance is cloaked in a unique aura of beauty and brilliance. Its very name conjures up awe-inspiring images of an age of lofty ideals in which life imitated the fantastic artworks for which it has become famous. But behind the vast explosion of new art and culture lurked a seamy, vicious world of power politics, perversity, and corruption that has more in common with the present day than anyone dares to admit. In this lively and meticulously researched portrait, Renaissance scholar Alexander Lee illuminates the dark and titillating contradictions that were hidden beneath the surface of the period’s best-known artworks. Rife with tales of scheming bankers, greedy politicians, sex-crazed priests, bloody rivalries, vicious intolerance, rampant disease, and lives of extravagance and excess, this gripping exploration of the underbelly of Renaissance Italy shows that, far from being the product of high-minded ideals, the sublime monuments of the Renaissance were created by flawed and tormented artists who lived in an ever-expanding world of inequality, dark sexuality, bigotry, and hatred. The Ugly Renaissance is a delightfully debauched journey through the surprising contradictions of Italy’s past and shows that were it not for the profusion of depravity and degradation, history’s greatest masterpieces might never have come into being.
Pater's first major work, a study of kindred spirits in love of beauty. Criticized as a "demoralizing moralizer".--Jim Kepner ; Oscar Wilde's favorite book by Pater (Greif, p. 157) ; Includes essays on Pico della Mirandola, Michelangelo, da Vinci and Winckelmann.