The Anglo-Florentine Renaissance : art for the early Tudors ; [this book originated in a Conference, entitled "Conference Henrici-Medici: Artistic Links between the Early Tudor Courts and Medicean Florence", that took place on September 19 - 21, 2007 at Villa I Tatti, the Harvard University Center for Italian Renaissance Studies in Florence]
"Under the rule of Henry VII (r. 1485-1509) England became a powerful nation. The Tudor court sought to express its worldliness and political clout through major artistic commissions, employing Florentine sculptors and painters to create lavish new interiors, suitable for entertaining foreign d...
Gespeichert in:
| Mitwirkende: | |
|---|---|
| Dokumenttyp: | Tagungsbericht Buch |
| Sprache: | English |
| Veröffentlicht: |
New Haven, Conn.
: Yale Center for British Art
, 2012
London : Paul Mellon Centre for Studies in British Art , 2012 New Haven, Conn. [u.a.] : Yale Univ. Press , 2012 |
| Schriftenreihe: | Studies in British art
22 |
| Schlagwörter: | |
| Online Zugang: | Rezension Rezension |
| Bibliogr. Hinweis: | Rezensiert in:
[Rezension von: Cinzia Maria Sicca, The Anglo-Florentine Renaissance. Art for the early Tudors] |
| Verantwortlich: | publ. by the Yale Center for British Art ... Ed. by Cinzia Maria Sicca and Louis A. Waldmann |
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| 245 | 1 | 4 | |a The Anglo-Florentine Renaissance |b art for the early Tudors ; [this book originated in a Conference, entitled "Conference Henrici-Medici: Artistic Links between the Early Tudor Courts and Medicean Florence", that took place on September 19 - 21, 2007 at Villa I Tatti, the Harvard University Center for Italian Renaissance Studies in Florence] |c publ. by the Yale Center for British Art ... Ed. by Cinzia Maria Sicca and Louis A. Waldmann |
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| 520 | |a "Under the rule of Henry VII (r. 1485-1509) England became a powerful nation. The Tudor court sought to express its worldliness and political clout through major artistic commissions, employing Florentine sculptors and painters to create lavish new interiors, suitable for entertaining foreign dignitaries, for its royal palaces. These were exemplified by Henry VIII's palace of Nonsuch, so named because no other palace could match its magnificence. Italian sculpture, painting, and tapestries of the day reflected an interest in portraiture and dynastic monuments, epitomized in England by the royal tomb projects created by Baccio Bandinelli, Benedetto da Rovezzano, and Pietro Torrigiani. Generously illustrated throughout, The Anglo-Florentine Renaissance traces the artistic links between Medicean Florence and Tudor England through essays by an international team of scholars and explores how the language of Florentine art effectively expressed England's political aspirations and rose to prominence as a new international courtly style"-- | ||
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