Reviving the Renaissance: The Use and Abuse of the Past in Nineteenth-Century Italian Art and Decoration

Rosanna Pavoni (editor), translated by Adrian Belton

ISBN 10: 0521481511 / ISBN 13: 9780521481519

Edité par Cambridge University Press, (Cambridge Studies in Italian History and Culture series), 1997

A propos de cet article

8 academic contributions (See Contents picture) - not clear if all have been translated but there is no reference to a previous Italian-language version. Quarto-size, 298 pages (xiv, 284), index; publisher's black cloth with gilt titles on the spine; black and orange pictorial dust-jacket. Fine, unread, no writing, markup, labels or other defacements; unclipped jacket. Pictures show this actual book. UK orders are post-free. Heavy book - extra charges will be needed for shipment outside the UK (packed weight 1.1 kg).

N° de réf. du vendeur 153180

Détails bibliographiques

• Titre: Reviving the Renaissance: The Use and Abuse of the Past in Nineteenth-Century Italian Art and Decoration
• Éditeur: Cambridge University Press, (Cambridge Studies in Italian History and Culture series)
• Date de parution: 1997
• Langue: anglais
• ISBN à 10 chiffres: 0521481511
• ISBN à 13 chiffres: 9780521481519
• Reliure: Hardcover/Hardback
• Édition: First Edition.
• Impression: First printing
• État de l'article: Fine
• État de la jaquette: Fine
• Catalogues du vendeur:
  • History & Biography
  • Architecture. Building and Interiors
  • Art, Painting, Photography, Printmaking &c.

A propos de ce titre

Synopsis

An account of neo-Renaissance taste and style in Italy during the second half of the nineteenth century.

Présentation de l'éditeur

This book offers an account of neo-Renaissance taste and style in Italy during the second half of the nineteenth century. By the time Italy had developed its obsession with the neo-Renaissance in the 1870s, collectors and scholars in the rest of Europe had been excited by Renaissance taste and style for several decades. In Italy the Renaissance was promptly reconceptualised, in a forced alignment with the accepted historical version of its birth and development, and its help enlisted in the search for an Italian national identity. But what represented this neo-Renaissance in Italy, and what aided its diffusion? In an attempt to answer these questions this book explores the many areas marked by neo-Renaissance taste. It traces its diffusion and development from the institutions which instructed its chief exponents, to architecture and exhibitions and the publications which disseminated neo-Renaissance designs so effectively.