ISBN 10: 0520281799 / ISBN 13: 9780520281790
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Synopsis: Chronicling the fifteenth and sixteenth centuries and journeying from the Piazza San Marco to the villas of the Veneto, this vivid and authoritative survey of architecture, sculpture, and painting offers a rich perspective on the history and artistic achievements of Renaissance Venice. Distinguished scholar Loren Partridge examines the masterpieces of Venice’s urban design, civic buildings, churches, and palaces within their distinctive cultural and geographic milieus, exploring issues of function, style, iconography, patronage, and gender. Readers will also discover fascinating in-depth analyses of major works of such artists as Giovanni Bellini, Carpaccio, Giorgione, Palladio, Tintoretto, Titian, and Veronese. Designed to appeal to students and travelers alike, this essential guide to the art and architecture of Renaissance Venice brings La Serenissima to life as never before.

From the Inside Flap: Thorough, thoughtful, and engaging, Art of Renaissance Venice 1400 1600 offers an exacting survey of art and architecture in Venice across two extraordinary centuries. Working both chronologically and by genre, Loren Partridge situates Venetian art within its broader cultural, political, and religious context. The book will be a useful undergraduate teaching text, and it will also appeal to the general reader interested in learning more about a dynamic period in the history of Western art.” Meryl Bailey, Mills College

Like his surveys of Renaissance art in Rome and Florence, Loren Partridge’s new book on Venice is an unmatched landmark achievement: comprehensive, authoritative, beautifully illustrated, indispensable for anyone seriously interested in the art, architecture, and culture of Renaissance Venice.” Randolph Starn, Professor of History and Italian Studies, University of California, Berkeley

Loren Partridge draws in the reader by bringing to life how these works would have been experienced, not just seen. This book takes us through streets, into chapels, over bridges, up grand stairways, into vast halls, and through small, domestic spaces. It shows us how the three-dimensional qualities of buildings inside and out would have structured the experiences and interactions of a period user, how paintings could engage in call-and-response across a room, and how sculptures could literally put viewers in their place.” Patricia L. Reilly, Swarthmore College

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Loren Partridge
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