Titian and Venetian Painting, 1450-1590 by Cole Bruce;

Author:Cole, Bruce;
Language: eng
Format: epub
Publisher: Routledge

Notes

1. On the history of Renaissance portraiture, consult J. Pope-Hennessy, The Portrait in the Renaissance, Princeton, 1969, and L. Campbell, Renaissance Portraits, London, 1990.

2. A major work on Charles V is K. Brandi, The Emperor Charles V, trans. C. Wedgwood, London, 1968. For a survey of the influence of Titian's patronage and influence in Spain see F. Checa Cremados, Tiziano y la monarquia hispanica, Madrid, 1994.

3. Regarding the Gonzaga family and their patronage, there is the old, but still estimable work by J. Cartwright, Isabella d'Este, Marchioness of Mantua, 2 vols., London, 1903; as well as the more recent Splendor of the Gonzagas, ed. D. Chambers and J. Martineau, London, 1982 and S. Pagden, Isabella d'Este, Fürstin und Mäzenatin der Renaissance, Vienna, 1994.

4. On Federico Gonzaga as patron, see C. Hope, "Federico Gonzaga as Patron," Splendor of the Gonzagas, ed. D. Chambers and J. Martineau, London, 1982. See also A. Cole, Virtue and Magnificence: Art of the Italian Renaissance Courts, Englewood Cliffs, 1995.

5. The dukes of Urbino are described in C. Clough, The Duchy of Urbino in the Renaissance, London, 1981.

6. Piero's portraits of Federigo da Montefeltro and Battista Sforza are discussed in B. Cole, Piero della Francesca: Tradition and Innovation in Renaissance Art, New York, 1991: 127-137.

7. For an introduction to Castiglione's life and work see B. Castiglione, The Book of the Courtier, trans. G. Bull, Harmondsworth, 1967. For an old but valuable biography of Castiglione see J. Cartwright, The Perfect Courtier: Baldassare Castiglione, 2 vols., New York, 1927.

8. The drawing of a helmet is included in H. Wethey, Titian and His Drawings, Princeton, 1987: 16-17, 136-137; and in M. Chiari Moretto Wiel, Titian. Corpus dei disegni, Milan, 1989: 93.

9. The Aretino quote is from F. Valcanover et al., Titian: Prince of Painters, Venice, 1990: 220. For a description of the life of Pietro Aretino, see J. Cleugh, The Divine Aretino, New York, 1966; C. Cairns, Pietro Aretino and the Republic of Venice, Florence, 1985. Aretino's letters on art constitute four volumes: see P. Aretino, Lettere sull'arte, ed. F. Pertile and E. Camasasca, 4 vols., Milan, 1957. On Titian and Aretino, see L. Freedman, Titian's Portraits Through Aretino's Lens, University Park, 1995.

10. On Ranuccio Farnese and Farnese patronage, consult C. Robertson, Il Gran Cardmale: Alessandro Farnese, Patron of the Arts, London, 1992.

11 The Venus of Urbino is the subject of an article by D. Rosand, "And So-and-So Reclining on Her Couch," Titian 500: Studies in the History of Art, 45, ed. J. Manca, Hanover, 1993: 101-119.

12. For the life of Palma Vecchio, see P. Ryland, Palma Vecchio, Cambridge, England, 1992.

13. Other works by Martin Rota can be found in M. Agnese Chiari Moretto Wiel, Incisioni di Tiziano, Venice, 1982.

14. Titian's engravings and woodcuts are surveyed in F. Mauroner, Le incisioni di Tiziano, Venice, 1941; D. Rosand, Titian and the Venetian Woodcut, Washington, 1976; M. Agnese Chiari Moretto Wiel, Incisioni di Tiziano, Venice, 1982; and D. Landau and P. Parshall, The Renaissance Print, 1470-1550, London, 1994.

15. M. Sellink, Cornelis Cort: Accomplished Plat-Cutter from Hoorn in Holland, Rotterdam, 1994.

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