Artists make a name for themselves thanks to their works. But what name? During the Renaissance, artists are usually designated by their first name or by a patronym. But to become famous, painters have often endeavoured to invent the names with which they wanted to achieve fame.
The Renaissance reinvented modesty – that contradictory passion which reveals while hiding. In a masterful book, Dominique Brancher shows how this art of circumvention spanned a variety of knowledge, especially medical knowledge, in the sixteenth century.
How should one interpret the “Allegory of Good Government”, a fresco painted by Lorenzetti in the Palazzo Pubblico of Siena in 1338? Is it praising the law that preserves the peace within the city and protects individuals, or the wisdom that naturally guides men towards the common good?
In his last published essay, Jacques Le Goff, who recently passed away, examines the problem of historical periodization. He defends the idea of a “long Middle Ages” and refuses to see the Renaissance as a distinct period in its own right. His book is a reflection on our chronological frameworks.
Between the start of the Franco-Prussian War and the rise to power of Adolf Hitler, art historians in Germany and France were studying the Italian Renaissance and the Gothic monuments of the Middle Ages. Passini’s recent book analyses the role of French and German nationalism in the shaping of art history.
In Florence and Baghdad, Hans Belting writes a new history of the human gaze based on its symbolic value in relation to the image. His starting point is the cultural transfer between the East and the West, leading to the invention of perspective in the 16th century. The author examines two different forms of cultures of the gaze and lays the groundwork for a global art history.
