Art in Renaissance Italy, 1350-1500, Paperback

Art in Renaissance Italy, 1350-1500 Paperback

Part of the Oxford History of Art series

4 out of 5 (1 rating)


Between the 'Black Death' in the mid-fourteenth century and the French invasions at the end of the fifteenth, artists such as Masaccio, Donatello, Fra Angelico, and Leonardo, working in the kingdoms, princedoms, and republics of the Italian peninsula, created some of the most influential and exciting works in a variety of artistic fields.

Yet the traditional story of the Renaissance has been dramatically revised in the light of new scholarship, and new issues have greatly enriched our understanding of the period.

Emphasis has been placed on recreating the experience of contemporary Italians - the patrons who commissioned the works, the members of the public who viewed them, and the artists who produced them.

In this book Evelyn Welch presents a fresh picture of the Italian Renaissance. Giving equal weight to the Italian regions outside Florence, she discusses a wide range of works, from paintings to coins, and from sculptures to tapestries, examines the issues of materials, workshop practises, and artist-patron relationships, and explores the ways in which visual imagery related to contemporary sexual, social and political behaviour.


  • Format: Paperback
  • Pages: 304 pages, colour and black and white halftones throughout
  • Publisher: Oxford University Press
  • Publication Date:
  • Category: Renaissance art
  • ISBN: 9780192842794



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I'd bought this looking for a sort of pictoral reference to Renaissance works in general, but obviously got my wires crossed somewhere. Maybe a slightly more revealing title would have been <i>Aspects of</i> Art in Renaissance Italy, as forming any kind of general survey isn't really within the ambitions of the text. That said, as long as you have a basic grasp already, the discussion of the function of art and the politics behind its creation and uses are certainly very interesting and helpful in getting a broader understanding. Just be warned that the approach to the civic history of art taken here doesn't necessarily lend itself to any clear and linear discussion of the artworks involved.

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