Wackernagel stresses the changing roles of commissions and patrons in the late fourteenth to the early fifteenth centuries, from small-scale enterprise under Lorenzo de Medici to the large-scale development of major Florentine monuments.
Wackernagel stresses the changing roles of commissions and patrons in the late fourteenth to the early fifteenth centuries, from small-scale enterprise under Lorenzo de Medici to the large-scale development of major Florentine monuments.
Translator's Acknowledgments Translator's Introduction Abbreviations Author's Preface Author's Introduction PART I The Commissions CHAPTER 1 Great Projects and Work on Them from 1420 to 1530 * The Duomo and Baptistery * The Church and Convent of Santa Maria Novella * The Palazzo Vecchio CHAPTER 2 Sculptural Commissions * Sculpture for Church Buildings * Sculpture for Domestic Buildings CHAPTER 3 Painting Commissions * Wall Painting and Stained Glass in the Interior of Churches and Convent Buildings * Panel Painting in Sacred Settings * Banners and Vestments * Paintings in Domestic Interiors * Household Paintings on Wood and Canvas * Painting on the Exterior of Buildings and Throughout the Cityscape CHAPTER 4 Artistic Participation in the Staging of Public Festivities and Spectacles PART II The Patrons CHAPTER 5 The City Government and the Guilds CHAPTER 6 Private Patronage in the Early and Mid-Quattrocento * Representatives of the First Stage of the Early Renaissance * Giovanni Rucellai and Cosimo de' Medici * Cosimo’s Sons, Piero and Giovanni de' Medici Attitudes and Forms of Patronage CHAPTER 7 Lorenzo Magnifico, Piero di Lorenzo, and Lorenzo di Pierfrancesco de’ Medici CHAPTER 8 Patrons from the Medici Circle in Florence and the Netherlands: the Sassetti, Portinari, Tornabuoni, Filippo Strozzi, and Others CHAPTER 9 Patrons of the High Renaissance and Extra-Florentine Commissioners and Collectors CHAPTER 10 The General Attitude toward Art: The Public and the Artist PART III The Artist’s Workshop and the Art Market CHAPTER 11 The Artist Class: Its Numerical Strength, Professional Organization, and Occupational Divisions CHAPTER 12 Studios and their Working Procedures * Living and Working Places and the Organization of Work: Master, Assistants, and Apprentices * The Process of Sculpture * The Painter's Working Procedure: Drawing * Execution of Panel and Wall Paintings * The New Generation of Artists: Training for Apprentices and Assistants CHAPTER 13 Business Practices in the Workshop and Art Market * Price Formation and Forms of Payment * Economic Status of Artists CHAPTER 14 The Artists * Class Status and Class Consciousness * The Artist as a Person, his Social Circle, his Way of Life and Work * The Artistic Temperament and Range of Interests * The Artistic Type in Contemporary Society Author's Bibliography Translator's Bibliography Index
Translator's Acknowledgments Translator's Introduction Abbreviations Author's Preface Author's Introduction PART I The Commissions CHAPTER 1 Great Projects and Work on Them from 1420 to 1530 * The Duomo and Baptistery * The Church and Convent of Santa Maria Novella * The Palazzo Vecchio CHAPTER 2 Sculptural Commissions * Sculpture for Church Buildings * Sculpture for Domestic Buildings CHAPTER 3 Painting Commissions * Wall Painting and Stained Glass in the Interior of Churches and Convent Buildings * Panel Painting in Sacred Settings * Banners and Vestments * Paintings in Domestic Interiors * Household Paintings on Wood and Canvas * Painting on the Exterior of Buildings and Throughout the Cityscape CHAPTER 4 Artistic Participation in the Staging of Public Festivities and Spectacles PART II The Patrons CHAPTER 5 The City Government and the Guilds CHAPTER 6 Private Patronage in the Early and Mid-Quattrocento * Representatives of the First Stage of the Early Renaissance * Giovanni Rucellai and Cosimo de' Medici * Cosimo’s Sons, Piero and Giovanni de' Medici Attitudes and Forms of Patronage CHAPTER 7 Lorenzo Magnifico, Piero di Lorenzo, and Lorenzo di Pierfrancesco de’ Medici CHAPTER 8 Patrons from the Medici Circle in Florence and the Netherlands: the Sassetti, Portinari, Tornabuoni, Filippo Strozzi, and Others CHAPTER 9 Patrons of the High Renaissance and Extra-Florentine Commissioners and Collectors CHAPTER 10 The General Attitude toward Art: The Public and the Artist PART III The Artist’s Workshop and the Art Market CHAPTER 11 The Artist Class: Its Numerical Strength, Professional Organization, and Occupational Divisions CHAPTER 12 Studios and their Working Procedures * Living and Working Places and the Organization of Work: Master, Assistants, and Apprentices * The Process of Sculpture * The Painter's Working Procedure: Drawing * Execution of Panel and Wall Paintings * The New Generation of Artists: Training for Apprentices and Assistants CHAPTER 13 Business Practices in the Workshop and Art Market * Price Formation and Forms of Payment * Economic Status of Artists CHAPTER 14 The Artists * Class Status and Class Consciousness * The Artist as a Person, his Social Circle, his Way of Life and Work * The Artistic Temperament and Range of Interests * The Artistic Type in Contemporary Society Author's Bibliography Translator's Bibliography Index
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