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The first modern survey of a fascinating yet under appreciated art form, abundantly illustrated with new color photography.
In this volume, a team of noted Italian art historians trace the evolution of Renaissance intarsia through a discussion of twelve of the most important intarsia cycles. These include the famous studiolo of Federico da Montefeltro in the ducal palace at Urbino; the sacristy of Santa Maria in Organo at Verona, which Vasari described as the most beautiful in all of Italy; and the choir of Santa Maria Maggiore in Bergamo, the cartoons for which were prepared by Lorenzo Lotto. Drawing on the latest scholarship and, in some cases, newly discovered documentary evidence, the authors explain the historical context and iconography of these masterpieces, as well as their connections to the painting, sculpture, and architecture of the time. Their insightful essays are illustrated with some two hundred new color images, the result of an extensive photographic campaign carried out exclusively for this work.
Admirably filling in a unique chapter of art history, Renaissance Intarsia will be essential reading for scholars and enthusiasts of art, and a powerful source of inspiration for contemporary artists and craftsmen.
- Sales Rank: #1347775 in Books
- Published on: 2012-09-18
- Original language: English
- Number of items: 1
- Dimensions: 13.00" h x 1.30" w x 11.20" l, 5.20 pounds
- Binding: Hardcover
- 256 pages
Review
"…A gloriously written and illustrated survey…with electrifying photography." — ArchNewsNow
From the Inside Flap
Among the so-called “minor arts” that flourished in the Italian Renaissance, perhaps the most astounding in its virtuosity was that of intarsia, or wood inlay, in which countless pieces of wood of various species were fitted together like a jigsaw puzzle so as to form exquisite pictures. The masters of intarsia adopted the newly developed technique of linear perspective to depict their characteristic themes, namely, cityscapes viewed through an archway and illusionistic renderings of half-open cabinets filled with liturgical or scholarly equipment. At first these enchanting scenes in wood were found mainly in ecclesiastical settings—on choir stalls and altar frontals, and in sacristies—but by the later Quattrocento they were also used to decorate the studioli, or private studies, of powerful secular patrons. Eventually, in the Cinquecento, intarsists began to push the limits of their medium with figural scenes of ever-greater complexity; this ambitious yet perhaps quixotic attempt to rival the art of painting led to many technical and aesthetic innovations, but also to an abandonment of intarsia’s natural strengths and its ultimate decline as an independent art.
About the Author
Luca Trevisan, an art historian based in Verona, is the author of several works on the sixteenth- and seventeenth-century art of the Veneto.
Luca Sassi is an Italian photographer and publisher of art, architecture, and photography books.
Most helpful customer reviews
3 of 3 people found the following review helpful.
Stunning book showing masterpiece inlaid work from the R
By Brenda L. Pizzo
This book is a must for anyone interested in collecting art books, especially if your interest lies with Italian and Renaissance art. Although, you need not be an expert to enjoy the beauty of this book. You will be amazed at the mastery of inlaid work depicted in the book dating from the Renaissance. The plates are done so beautifully that some work looks 3-D. Just when you think you've found your favorite, turn the page and the new page is your favorite. I
3 of 3 people found the following review helpful.
Renaissance Intarsia
By j.v.v
Artists will love this book for its beautiful reproductions, and solid construction. I collect art books and this is amongst the best new titles I've come across in 25 years.
If you are looking for technical information, it is only discussed briefly.
1 of 1 people found the following review helpful.
I will have to verify (still reading) but the discussion on getting perspective (3-D in a 2-D landscape) is better here, but not
By John
There were a couple of perspectives that interested me here. It is not as thorough as the Pierre Ramond books and there is definitely more architectural information. I will have to verify (still reading) but the discussion on getting perspective (3-D in a 2-D landscape) is better here, but not as good as in the Roubo book (To Make as Perfectly as Possible). If you are looking for how to accomplish 3-D, it's still not the best book. You will find a lot of historical references and get a better appreciation of where this art form originated. One theme I found interesting was how these examples use mostly browns and basic wood colours yet still achieve natural effects. If you are more interested in techniques, then the Ramond books are better. If you like to get the historical perspectives and some early ideas, This book would fit better for that. Some of the earlier work does not have the sophistication of the Ramond examples but that's more a reflection of the era being described and doesn't undermine the quality of the book. .
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