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List of contents
Contents: Introduction, Paul Joannides and Francis Ames-Lewis; Raphael's responsiveness to Michelangelo's draughtsmanship, Francis Ames-Lewis; The influence of Michelangelo: Pontormo, Bronzino, and Allori, Elizabeth Pilliod; Parmigianino and Michelangelo, David Ekserdjian; Salviati and Michelangelo, Paul Joannides; Absorption and interpretation: Michelangelo through the eyes of a Venetian follower, Battista Franco, Anne Varick Lauder; The reproduction and publication of Michelangelo's Sacristy: drawings and prints by Franco, Salviati, Naldini, and Cort, Raphael Rosenberg; Michelangelo and Marcello Venusti: A case of multiple authorship, William E. Wallace; Alessandro Vittoria: The Michelangelo of Venice?, Victoria Avery; Vasari, Borghini, and Michelangelo, Rick Scorza; Michelangelo and Spain: on the dissemination of his draughtmanship, Lizzie Boubli, Bibliography; Index.
About the author
Francis Ames-Lewis, University of London, UK.
Paul Joannides, University of Cambridge.
Summary
The immense effect that Michelangelo had on many artists working in the sixteenth century is widely acknowledged by historians of Italian Renaissance art. Yet until recently greater stress has been placed on the individuality of these artists' styles and interpretation rather than on the elucidation of their debts to others. There has been little direct focus on the ways in which later sixteenth-century artists actually confronted Michelangelo, or how those areas or aspects of their artistic production that are most closely related to his reveal their attitudes and responses to Michelangelo's work. Reactions to the Master presents the first coherent study of the influence exerted by Michelangelo's work in painting and sculpture on artists of the late-Renaissance period including Alessandro Allori, Agnolo Bronzino, Battista Franco, Francesco Parmigianino, Jacopo Pontormo, Francesco Salviati, Raphael, Giorgio Vasari, Marcello Venusti, and Alessandro Vittoria. The essays focus on the direct relations, such as copies and borrowings, previously underrated by art historians, but which here form significant keys to understanding the aesthetic attitudes and broader issues of theory advanced at the time.
Additional text
'Clearly and intelligently written, [the essays] make an important contribution to a subject that is receiving growing attention...The editors are exceptionally well qualified...This book offers many intriguing insights into Michelangelo, an artist who has been studied exhaustively.' RA Magazine
'... contains ten erudite essays by notable scholars...' A.V. Coonin, Choice
’...a provocative and welcome addition to the field’ CAA Review
