Bibliography for HARTG080: Seeing Through Materials: Matter, vision and transformation in the Renaissance BETA

Alexander, Nagel and Christopher S. Wood (2010) ‘Neo-Cosmatesque’, in Anachronic Renaissance. New York: Zone Books, pp. 185–194. Available at: https://www-jstor-org.libproxy.ucl.ac.uk/stable/j.ctv1453n0p.

Alexander, Nagel and Christopher, S. Wood (2010) ‘Plural Temporality of the Work of Art’, in Anachronic Renaissance. New York: Zone Books, pp. 7–19. Available at: https://contentstore.cla.co.uk/secure/link?id=411eec44-1a9d-e711-80cb-005056af4099.

Alison, Wright (2015) ‘Crivelli’s Divine Materials’, in S.J. Campbell (ed.) Ornament & illusion: Carlo Crivelli of Venice. London: Paul Holberton Publishing, pp. 57–77. Available at: https://contentstore.cla.co.uk/secure/link?id=0ff2e0e2-a5a2-e711-80cb-005056af4099.

Amanda, Lillie (2007) ‘Sculpting the Air: Donatello’s Narratives of the Environment’, in Depth of field: relief sculpture in Renaissance Italy. Bern: Peter Lang, pp. 97–124. Available at: https://contentstore.cla.co.uk/secure/link?id=74cfc804-00c6-e711-80cd-005056af4099.

Anne, Dunlop (2015) ‘On the origins of European painting materials, real and imagined’, in C. Anderson, A. Dunlop, and P.H. Smith (eds) The matter of art: materials, practices, cultural logics, c. 1250-1750. Manchester: Manchester University Press, pp. 68–96.

Anne-Sophie Lehman (2015a) ‘The matter of medium: some tools for an art-theoretical interpretation of materials’, in C. Anderson, A. Dunlop, and P.H. Smith (eds) The matter of art: materials, practices, cultural logics, c. 1250-1750. Manchester: Manchester University Press, pp. 21–41. Available at: https://contentstore.cla.co.uk/secure/link?id=51ed7412-149d-e711-80cb-005056af4099.

Anne-Sophie Lehman (2015b) ‘The matter of medium: some tools for an art-theoretical interpretation of materials’, in C. Anderson, A. Dunlop, and P.H. Smith (eds) The matter of art: materials, practices, cultural logics, c. 1250-1750. Manchester: Manchester University Press, pp. 21–41. Available at: https://contentstore.cla.co.uk/secure/link?id=51ed7412-149d-e711-80cb-005056af4099.

Arthur Lucas and Joyce Plesters (1978) ‘Titian’s “Bacchus and Ariadne”’, National Gallery Technical Bulletin, 2, pp. 25–47. Available at: http://www.jstor.org/stable/42616250.

Baum, K., Bayer, A. and Wagstaff, S. (eds) (2016) Unfinished: thoughts left visible. New York: The Metropolitan Museum of Art.

Belozerskaya, M. (2005) ‘The powers of gold and precious stones’, in Luxury arts of the Renaissance. London: Thames & Hudson, pp. 47–87. Available at: https://contentstore.cla.co.uk/secure/link?id=980191b2-1f9d-e711-80cb-005056af4099.

Bucklow, S. (2015) ‘Lead white’s mysteries’, in C. Anderson, A. Dunlop, and P.H. Smith (eds) The matter of art: materials, practices, cultural logics, c. 1250-1750. Manchester: Manchester University Press, pp. 141–159.

Campbell, L. (2012) Rogier van der Weyden in context: papers presented at the Seventeenth Symposium for the Study of Underdrawing and Technology in Painting, held in Leuven, 22-24 October 2009. Paris: Peeters.

Caroline, Walker Bynum (2011) ‘The power of objects’, in Christian materiality: an essay on religion in late medieval Europe. New York: Zone Books, pp. 125–176.

Caroline, Walker, Bynum (2011) ‘Visual Matter’, in Christian materiality: an essay on religion in late medieval Europe. New York: Zone Books, pp. 37–123. Available at: https://contentstore.cla.co.uk/secure/link?id=b3ff84dd-109a-e711-80cb-005056af4099.

Cennini, C. and Broecke, L. (2015) Cennino Cennini’s Il libro dell’arte: a new English translation and commentary with Italian transcription. London: Archetype Publications Ltd.

Cennini, C. and Herringham, C.J.P. (1899) The book of the art of Cennino Cennini: a contemporary practical treatise on quattrocento painting. London: G. Allen & Unwin.

Christina, Neilson (2015) ‘The Meaning of Wood in Early Modern European Sculpture’, in C. Anderson, A. Dunlop, and P.H. Smith (eds) The matter of art: materials, practices, cultural logics, c. 1250-1750. Manchester: Manchester University Press, pp. 223–239.

Christy Anderson, Anne Dunlop and Pamela H. Smith (2015) ‘Introduction’, in C. Anderson, A. Dunlop, and P.H. Smith (eds) The matter of art: materials, practices, cultural logics, c. 1250-1750. Manchester: Manchester University Press, pp. 1–17.

Colonna, F. and Godwin, J. (2005) Hypnerotomachia Poliphili: the strife of love in a dream. [2nd ed.]. London: Thames & Hudson.

Conforti, M. (1997) ‘The idealist enterprise and the applied arts’, in A grand design: the art of the Victoria and Albert Museum. London: V & A with The Baltimore Museum of Art, pp. 23–47. Available at: https://contentstore.cla.co.uk/secure/link?id=dc228003-259d-e711-80cb-005056af4099.

Cynthia, Hahn (2000) ‘Visio dei: Changes in Medieval Visuality’, in Visuality before and beyond the Renaissance: seeing as others saw. Cambridge, U.K.: Cambridge University Press, pp. 169–196.

D. Allen (2011) ‘Gold, Silver and the Colors of Bronze: Antico’s Language of Materials in Statuettes and Reliefs’, in Antico: the golden age of Renaissance bronzes. Washington [D.C.]: National Gallery of Art, pp. 139–156.

Damisch, H. (1994) The origin of perspective. Cambridge, Mass: MIT Press.

Daniel Arasse (1999a) ‘Crivelli’, in L’Annonciation italienne: une histoire de perspective. [Paris]: Hazan, pp. 188–195.

Daniel Arasse (1999b) ‘intarsia Annunciation in the Sacristy of Florence cathedral’, in L’Annonciation italienne: une histoire de perspective. [Paris]: Hazan, pp. 168–172.

Elkins, J. (1994) ‘Curved Foundations: Complexity in Italian Intarsia’, in The poetics of perspective. Ithaca: Cornell University Press, pp. 128–133. Available at: https://contentstore.cla.co.uk/secure/link?id=fe049748-9ba2-e711-80cb-005056af4099.

Fabio Barry (2007) ‘Walking on Water: Cosmic Floors in Antiquity and the Middle Ages’, The Art Bulletin, 89(4), pp. 627–656. Available at: http://www.jstor.org/stable/25067354.

Faye Tudor (2010) ‘"All in him selfe as in a glass he sees”: Mirrors and vision in the Renaissance’, in Renaissance theories of vision. Farnham: Ashgate, pp. 171–186. Available at: https://www.taylorfrancis.com/books/e/9781317066408/chapters/10.4324%2F9781315605319-15.

Georges Didi-Huberman (1995a) ‘Introduction’, in Fra Angelico: dissemblance & figuration. Chicago: University of Chicago Press, pp. 1–12. Available at: https://contentstore.cla.co.uk/secure/link?id=dca97a11-a75a-e811-80cd-005056af4099.

Georges Didi-Huberman (1995b) ‘The Colours of Mystery’, in Fra Angelico: dissemblance & figuration. Chicago: University of Chicago Press, pp. 13–101.

Heidi C. Gearhart (2017) ‘Introduction: Theophilus, On Diverse Arts, prologue 1’, in Theophilus and the theory and practice of medieval art. University Park, Pennsylvania: The Pennsylvania State University Press, pp. 1–13. Available at: https://contentstore.cla.co.uk/secure/link?id=51788ec7-03c6-e711-80cd-005056af4099.

Hills, P. (1999) Venetian colour: marble, mosaic, painting and glass, 1250-1550. New Haven, Conn: Yale University Press.

History of Art Portal (no date). Available at: https://hoaportal.york.ac.uk/hoaportal/medievalToModern.jsp.

Ilya Kabakov (no date) ‘About Installation’, Art Journal [Preprint]. Available at: http://www.tandfonline.com/doi/abs/10.1080/00043249.1999.10791966.

Jill, Dunkerton (1999a) ‘North and South: Painting Techniques in Renaissance Venice’, in Renaissance Venice and the North: crosscurrents in the time of Dürer, Bellini and Titian. London: Thames & Hudson, pp. 92–103. Available at: https://contentstore.cla.co.uk/secure/link?id=38bf55c5-a9a2-e711-80cb-005056af4099.

Jill, Dunkerton (1999b) ‘North and South: Painting Techniques in Renaissance Venice’, in Renaissance Venice and the North: crosscurrents in the time of Dürer, Bellini and Titian. London: Thames & Hudson, pp. 92–103. Available at: https://contentstore.cla.co.uk/secure/link?id=38bf55c5-a9a2-e711-80cb-005056af4099.

John G. Hawthorne, Cyril Stanley Smith (1979) ‘The Second Book: The Art of the Worker in Glass’, in On divers arts: the foremost medieval treatise on painting, glassmaking and metalwork. New York: Dover, pp. 45–74.

Klaus Krüger (no date) ‘Authenticity and Fiction: On the Pictorial Construction of Inner Presence in Early Modern Italy’, in Image and imagination of the religious self in late medieval and early modern Europe. Turnhout, Belgium: Brepols, pp. 37–69.

Lehman, A.-S. (2015) ‘The matter of the medium: some tools for an art-theoretical interpretation of materials’, in C. Anderson, A. Dunlop, and P.H. Smith (eds) The matter of art: materials, practices, cultural logics, c. 1250-1750. Manchester: Manchester University Press, pp. 21–41. Available at: https://contentstore.cla.co.uk/secure/link?id=51ed7412-149d-e711-80cb-005056af4099.

Lorenzo, Lazzarini (1987a) ‘The Use of Color by Venetian Painters, 1488-1580: Materials and Technique’, in Color and technique in Renaissance painting: Italy and the North. New York: Augustin, pp. 115–136.

Lorenzo, Lazzarini (1987b) ‘The Use of Color by Venetian Painters, 1488-1580: Materials and Technique’, in Color and technique in Renaissance painting: Italy and the North. New York: Augustin, pp. 115–136.

Louis, Marin (2001) ‘Depositing time in Painted Representation’, in On representation. Stanford, Calif: Stanford University Press, pp. 285–308. Available at: https://ucl.primo.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=14758592270004761&institutionId=4761&customerId=4760&VE=true.

Margaret, Haines & Giuseppe, Marchini (1983) ‘Archaeology and analysis of the side wall revetments’, in The ‘Sacrestia delle Messe’ of the Florentine Cathedral. [Firenze]: Cassa di Risparmio di Firenze, pp. 81–97.

Medieval & Renaissance Galleries - Victoria and Albert Museum (no date). Available at: http://www.vam.ac.uk/page/m/medieval-and-renaissance-galleries/.

Meiss, M. (1945) ‘Light as Form and Symbol in Some Fifteenth-Century Paintings’, The Art Bulletin, 27(3). Available at: https://doi.org/10.2307/3047010.

Michael, Podro (1998) ‘Donatello and the Planes of Relief’, in Depiction. New Haven [Conn.]: Yale University Press, pp. 29–60. Available at: https://contentstore.cla.co.uk/secure/link?id=080722e6-37ba-e711-80cb-005056af4099.

Nader El-Bizri (2010) ‘Classical optics and the perspectivae traditions leading to the Renaissance’, in Renaissance theories of vision. Farnham: Ashgate, pp. 11–30. Available at: https://contentstore.cla.co.uk/secure/link?id=4884c8d5-f9a1-e711-80cb-005056af4099.

Pamela. H. Smith (2011) ‘What is a Secret? Secrets and Craft Knowledge in Early Modern Europe’, in Secrets and knowledge in medicine and science, 1500-1800. Farnham: Ashgate, pp. 47–66. Available at: https://contentstore.cla.co.uk/secure/link?id=aa77ca73-f9a1-e711-80cb-005056af4099.

Patricia Allerston (2007) ‘Consuming problems : worldly goods in Renaissance Venice’, in The Material Renaissance. Manchester: Manchester University Press, pp. 11–46. Available at: https://contentstore.cla.co.uk/secure/link?id=d05e8cb5-edb7-e711-80cb-005056af4099.

Pentcheva, B.V. (2010) The sensual icon: space, ritual, and the senses in Byzantium. University Park, Pa: Pennsylvania State University Press.

Philip, Ball (2002) ‘Time as Painter: The Ever-changing canvas’, in Bright earth: art and the invention of color. 1st American ed. New York: Farrar, Straus and Giroux, pp. 283–305. Available at: https://contentstore.cla.co.uk/secure/link?id=560dd6e5-a7a2-e711-80cb-005056af4099.

Philip, Ball (2008) ‘Time as Painter: The Ever-changing canvas’, in Bright earth: the invention of colour. London: Vintage, pp. 283–305. Available at: https://contentstore.cla.co.uk/secure/link?id=560dd6e5-a7a2-e711-80cb-005056af4099.

Rab, Hatfield (1990) ‘The Tree of Life and the Holy Cross: Franciscan Spirituality in the Trecento and the Quattrocento’, in Christianity and the Renaissance: image and religious imagination in the Quattrocento. New York: Syracuse University Press, pp. 132–160.

Rayna Kalas (2002) ‘The Technology of Reflection: Renaissance Mirrors of Steel and Glass’, Journal of Medieval and Early Modern Studies, 32(3), pp. 519–542. Available at: https://muse.jhu.edu/article/16519.

Rebecca Zorach (1999) ‘Everything Swims with Excess: Gold and Its Fashioning in Sixteenth-Century France’, RES: Anthropology and Aesthetics, (36), pp. 125–137. Available at: http://www.jstor.org/stable/20167479.

Recovering Titian: The Cleaning and Restoration of Three Overlooked Canvas Paintings | Technical Bulletin Vol 34 | National Gallery, London (no date). Available at: https://www.nationalgallery.org.uk/technical-bulletin/vol-34-essay-2-2013.

Roy, A. and White, R. (2000a) ‘Van Eyck’s technique: The myth and the reality, I and II’, in Investigating Jan van Eyck. Turnhout: Brepols, pp. 97–105. Available at: https://contentstore.cla.co.uk/secure/link?id=7ab5ef4a-df56-e911-80cd-005056af4099.

Roy, A. and White, R. (2000b) ‘Van Eyck’s technique: The myth and the reality, I and II’, in Investigating Jan van Eyck. Turnhout: Brepols, pp. 97–105. Available at: https://contentstore.cla.co.uk/secure/link?id=7ab5ef4a-df56-e911-80cd-005056af4099.

Ruskin, J. and Morris, J. (1981) The stones of Venice. London: Faber.

Sassi, L. and Shore, M. (2012) Renaissance intarsia: masterpieces of wood inlay. First edition. Edited by L. Trevisan. New York: Abbeville Press Publishers.

Sebastiano del Piombo’s ‘Raising of Lazarus’: A History of Change | Technical Bulletin | National Gallery, London (no date). Available at: http://www.nationalgallery.org.uk/technical-bulletin/dunkerton_howard2009.

Simons, P. (2015) ‘Salience and the Snail: Liminality and Incarnation in Francesco del Cossa’s Annunciation (c. 1470)’, in Religion, the Supernatural and Visual Culture in Early Modern Europe. Brill, pp. 303–329. Available at: https://doi.org/10.1163/9789004299016_016.

Smith, Pamela H (2004) ‘The Body of the Artisan.’, in The body of the artisan: art and experience in the scientific revolution, pp. 95–128. Available at: https://quod.lib.umich.edu/cgi/t/text/pageviewer-idx?c=acls;cc=acls;rgn=full%20text;idno=heb06680.0001.001;didno=heb06680.0001.001;view=image;seq=00000105;node=heb06680.0001.001%3A5.2.

Smith, P.H. (2004) The body of the artisan: art and experience in the scientific revolution. Chicago: University of Chicago Press.

Smith, P.H. (2015) ‘The matter of ideas in the working of metals in early modern Europe’, in C. Anderson, A. Dunlop, and P.H. Smith (eds) The matter of art: materials, practices, cultural logics, c. 1250-1750. Manchester: Manchester University Press, pp. 42–67.

Smith, P.H. (2016) ‘Historians in the Laboratory: Reconstruction of Renaissance Art and Technology in the Making and Knowing Project’, Art History, 39(2), pp. 210–233. Available at: https://doi.org/10.1111/1467-8365.12235.

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Thompson, N.M. (2004) ‘The Franciscans and the True Cross: The Decoration of the Cappella Maggiore of Santa Croce in Florence’, Gesta, 43(1), pp. 61–79. Available at: http://www.jstor.org/stable/25067092.

Virma, Passeri (2015) ‘Gold coins and gold leaf in early Italian Paintings’, in C. Anderson, A. Dunlop, and P.H. Smith (eds) The matter of art: materials, practices, cultural logics, c. 1250-1750. Manchester: Manchester University Press, pp. 97–115.

Walter S. Melion (no date) ‘Introduction: Meditative Images and the Psychology of Soul’, in Image and imagination of the religious self in late medieval and early modern Europe. Turnhout, Belgium: Brepols, pp. 1–36. Available at: https://contentstore.cla.co.uk/secure/link?id=46fd2b57-2800-e811-80cd-005056af4099.

Wright, A. (2012) ‘“Touch the truth”? Desiderio da Settignano, Renaissance relief and the body of Christ’, Sculpture Journal, 21(1), pp. 7–26. Available at: https://search.proquest.com/docview/1027116269/fulltext/E33A5129F2D44C5FPQ/2?accountid=14511.

Wright, A. (2013) ‘Tabernacle and Sacrament in fifteenth-century Tuscany’, in Carvings, casts & collectors: the art of Renaissance sculpture. London: V&A, pp. 42–57. Available at: https://contentstore.cla.co.uk/secure/link?id=fc64b864-faa1-e711-80cb-005056af4099.

Zorach, R. (2011) The passionate triangle. Chicago: University of Chicago Press.