1 PRELUDE: ITALY AND ITALIAN ART 17
The Role of Antiquity 18
The Cities 20
The Guilds and the Status of the Artist 24
The Artist at Work 25
The Products of the Painter’s Bottega 26
The Practice of Drawing 27
The Practice of Painting 28
Creating a Tempera Painting 28
Creating a Fresco Painting 30
Creating an Oil Painting 32
The Practice of Sculpture 32
The Practice of Architecture 34
The Practice of History and of Art History 35
The Practice of Art History: Giorgio Vasari 36
Part One
The Late Middle Ages
2 DUECENTO ART IN TUSCANY AND ROME 39
Painting in Pisa 40
Painting in Lucca 43
Painting in Florence 44
Painting in Siena 48
Cimabue 48
Painting in Rome 52
Cavallini 55
Sculpture 57
Architecture 65
3 FLORENTINE ART OF THE EARLY TRECENTO 73
Giotto 73
Florentine Painters after Giotto 96
Sculpture 100
4 SIENESE ART OF THE EARLY TRECENTO 103
Duccio 103
Simone Martini 109
Pietro Lorenzetti 117
Ambrogio Lorenzetti 123
The Master of the Triumph of Death 129
Orvieto Cathedral, Lorenzo Maitani and Ugolino di Vieri 130
5 LATER GOTHIC ART IN TUSCANY AND
NORTHERN ITALY 137
Mid-Trecento Painting in Florence 138
Late Gothic Painting: Agnolo Gaddi and Lorenzo Monaco 144
Painting and Sculpture in Northern Italy 148
Part Two
The Quattrocento
6 THE BEGINNINGS OF RENAISSANCE ARCHITECTURE 159
The Role of the Medici Family 160
Filippo Brunelleschi and Linear Perspective 161
The Dome of Florence Cathedral 163
The Ospedale degli Innocenti 166
Brunelleschi’s Sacristy for San Lorenzo 167
San Lorenzo and Santo Spirito 168
Santa Maria degli Angeli 171
The Pazzi Chapel 171
The Medici Palace and Michelozzi di Bartolommeo 172
7 GOTHIC AND RENAISSANCE IN TUSCAN SCULPTURE 177
The Competition Panels 177
Ghiberti to 1425 179
Donatello to 1417 185
Nanni di Banco 190
Donatello (c. 1417 to c. 1435) 192
Jacopo della Quercia 196
8 GOTHIC AND RENAISSANCE IN FLORENTINE PAINTING 201
Gentile da Fabriano 201
Masolino and Masaccio 205
9 THE HERITAGE OF MASACCIO AND THE SECOND RENAISSANCE STYLE 221
Fra Angelico 222
Fra Filippo Lippi 229
10 THE SECOND RENAISSANCE STYLE IN ARCHITECTURE
AND SCULPTURE 239
Alberti 239
Ghiberti after 1425 250
Luca della Robbia (1399 or 1400–82) 253
Donatello (c. 1433 to c. 1455) 255
11 ABSOLUTE AND PERFECT PAINTING: THE SECOND RENAISSANCE STYLE 265
Paolo Uccello 265
Domenico Veneziano 269
Andrea del Castagno 273
A Birth Salver Celebrating Lorenzo de’ Medici 280
Piero della Francesca 281
12 CRISIS AND CROSSCURRENTS 299
Donatello after 1453 302
Desiderio da Settignano 305
Antonio Rossellino and the Chapel of the Cardinal of Portugal 308
Benedetto and Giuliano da Maiano 311
Giuliano da Sangallo 314
Benozzo Gozzoli 317
Alesso Baldovinetti 318
Francesco Pesellino 321
13 SCIENCE, POETRY, AND PROSE 325
Antonio del Pollaiuolo 326
Andrea del Verrocchio 332
Renaissance Cassoni 336
Alessandro Botticelli 337
Filippino Lippi 353
Domenico del Ghirlandaio 356
14 THE RENAISSANCE IN CENTRAL ITALY 365
Siena 365
Sassetta 367
Giovanni di Paolo 368
Domenico di Bartolo 369
Matteo di Giovanni 371
Vecchietta 372
Francesco di Giorgio 372
Perugia 375
Perugino 375
Pintoricchio 379
Melozzo da Forlì 381
The Laurana Brothers 385
15 GOTHIC AND RENAISSANCE IN VENICE AND
NORTHERN ITALY 391
Pisanello 391
Early Quattrocento Painting in Venice 395
Jacopo Bellini 396
Andrea Mantegna 398
Mantegna and Isabella d’Este 408
Gentile Bellini 411
Antonello da Messina 412
Giovanni Bellini 417
Vittore Carpaccio 424
Carlo Crivelli 428
Late Quattrocento Architecture in Venice 430
Late Quattrocento Art in Milan 433
Vincenzo Foppa 433
Filarete 434
The Certosa di Pavia 434
Quattrocento Painting in Ferrara 436
North Italian Quattrocento Sculpture 441
Part Three
The Cinquecento
16 THE HIGH RENAISSANCE IN FLORENCE 445
Leonardo da Vinci 445
Michelangelo to 1505 469
Raphael in Perugia and Florence 479
Fra Bartolommeo 483
Luca Signorelli 485
Piero di Cosimo 489
17 THE HIGH RENAISSANCE IN ROME 493
Bramante 495
Michelangelo 1505 to 1516 503
Raphael in Rome 521
18 HIGH RENAISSANCE AND MANNERISM 549
Michelangelo 1516 to 1533 550
Andrea del Sarto 561
Pontormo 566
Rosso Fiorentino 571
Perino del Vaga 573
Domenico Beccafumi 575
Properzia de’ Rossi 579
Correggio 580
Parmigianino 585
Pordenone 588
Defining Mannerism 589
Antonio da Sangallo the Elder 589
Antonio da Sangallo the Younger 591
Baldassare Peruzzi 594
Giulio Romano 594
19 HIGH AND LATE RENAISSANCE IN VENICE AND ON
THE MAINLAND 599
Giorgione 599
Titian 603
Tullio Lombardo 620
Lorenzo Lotto and Paris Bordone 622
The Mainland 623
Bramantino, Dosso Dossi, Savoldo, and Moretto 624
Sofonisba Anguissola 627
Tintoretto 630
Paolo Veronese 638
Jacopo Bassano 645
Michele Sanmicheli 645
Jacopo Sansovino 647
Andrea Palladio 649
Alessandro Vittoria 655
20 MICHELANGELO AND THE MANIERA 657
Michelangelo after 1534 657
The Maniera 667
The Michelangelesque Relief 667
Benvenuto Cellini 669
Bartolommeo Ammanati 672
Giovanni Bologna 674
Bronzino and Francesco Salviati 675
Later Majolica 680
Giorgio Vasari 680
The Studiolo 682
Lavinia Fontana of Bologna 686
Postlude 687
Giacomo da Vignola 687
Federico Barocci 689
Sixtus V 691
Glossary 692
Bibliography 700
Index 715
Photo Credits 735
Literary Credits 736
This work has been long hailed as one of the most comprehensive and richly detailed chronologies of painting, sculpture, and architecture in Italy from c. 1200 A.D. to c. 1594 A. D.
The late Frederick Hartt was one of the most distinguished art historians of the twentieth century. A student of Berenson, Schapiro, and Friedlaender, he taught for more than fifty years, influencing generations of Renaissance scholars. At the time of his death he was Paul Goodloe McIntire Professor Emeritus of the History of Art at the University of Virginia. He was a Knight of the Crown of Italy, a Knight Officer of the Order of Merit of the Italian Republic, an honorary citizen of Florence, and an honorary member of the Academy of the Arts of Design, Florence, a society whose charter members included Michelangelo and the Grand Duke Cosimo I de' Medici.
Hartt authored, among other works, Florentine Art under Fire (1949); Botticelli (1952); Giulio Romano (1958); Love in Baroque Art (1964); The Chapel of the Cardinal of Portugal (1964); three volumes on the painting, sculpture, and drawings of Michelangelo (1964, 1969, 1971); Donatello, Prophet of Modern Vision (1974); Michelangelo's Three Pietàs (1975); and the monumental Art: A History o f Painting, Sculpture, Architecture, now in its fourth edition (1993).
David G . Wilkins is professor emeritus of the history of art and architecture at the University of Pittsburgh and former chair of the department. He has also served on the faculties of the University of Michigan in Florence and the Semester at Sea Program. He is author of Donatello (1984, with Bonnie A. Bennett); Maso di Banco: A Florentine Artist of the Early Trecento (1985); The Illustrated Bartsch: "Pre-Rembrandt Etchers," vol. 53 (1985, with Kahren Arbitman); A History o f the Duquesne Club (1989, with Mark Brown and Lu Donnelly); Art Past/Art Present, a broad survey of the history of art (fifth edition, 2005, with Bernard Schultz and Katheryn M. Linduff); and The Art of the Duquesne Club (2001). He was the revising author for the fourth and fifth editions of History of Italian Renaissance Art: Painting, Sculpture, and Architecture (1994, 2003) and co-editor of The Search for a Patron in the Middle Ages and the Renaissance (1996, with Rebecca L. Wilkins) and Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy (2001 with Sheryl E. Reiss). He was editor of The Collins Big Book of Art (2005). In 2005 he also received the College Art Association’s national award for Distinguished Teaching in Art History.
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