Venice and the taste for beauty. The Renaissance Patron and Architect at La Fenice.
| N° d'inventaire | 19422 |
| Format | 15 x 21.5 |
| Détails | 390 p., color and black and white illustrations, paperback. |
| Publication | Féronnas, 2015 |
| Etat | Nine |
| ISBN | |
Venice historian Jean-Claude Hocquet, author of numerous works on the Serenissima, takes a new look at the city and its history, which he approaches through the prism of art history and the social history of the relationships between noble or wealthy bourgeois patrons and creators. The palaces show how wealth passed from the hands of the old nobility, enriched by distant trade, to those of an industrious bourgeoisie who dreamed of imitating their predecessors. Venice's architecture is reflected in the water everywhere; the churches and their domes form a crown at the San Marco basin; the palaces line the most beautiful avenue in the world, the Grand Canal, and the largest squares. The city was built over a millennium, and its long history imposes on it the diversity that contributes greatly to its incomparable beauty and appeal. In the 15th century, during the Renaissance (the famous Italian Quattrocento), architects and their patrons began to become well known, and when the history of the Republic ended, it was with the construction of the La Fenice theater at the end of the Age of Enlightenment. The book covers these four centuries and traces the lives and works of architects from Florence, Rome, or the provinces of the Venetian state, often simple stonemasons trained in the workshops of their illustrious predecessors or theoreticians who were readers of Vitruvius, who built churches, hospitals, palaces, sober functional commercial or administrative buildings, but also funerary monuments or temples dedicated to music (the Pieta) or the glorification of heroes during the Baroque era. The architecture is enriched by painting and sculpture and welcomes music (La Fenice), making Venice the goddess of the arts.
Venice historian Jean-Claude Hocquet, author of numerous works on the Serenissima, takes a new look at the city and its history, which he approaches through the prism of art history and the social history of the relationships between noble or wealthy bourgeois patrons and creators. The palaces show how wealth passed from the hands of the old nobility, enriched by distant trade, to those of an industrious bourgeoisie who dreamed of imitating their predecessors. Venice's architecture is reflected in the water everywhere; the churches and their domes form a crown at the San Marco basin; the palaces line the most beautiful avenue in the world, the Grand Canal, and the largest squares. The city was built over a millennium, and its long history imposes on it the diversity that contributes greatly to its incomparable beauty and appeal. In the 15th century, during the Renaissance (the famous Italian Quattrocento), architects and their patrons began to become well known, and when the history of the Republic ended, it was with the construction of the La Fenice theater at the end of the Age of Enlightenment. The book covers these four centuries and traces the lives and works of architects from Florence, Rome, or the provinces of the Venetian state, often simple stonemasons trained in the workshops of their illustrious predecessors or theoreticians who were readers of Vitruvius, who built churches, hospitals, palaces, sober functional commercial or administrative buildings, but also funerary monuments or temples dedicated to music (the Pieta) or the glorification of heroes during the Baroque era. The architecture is enriched by painting and sculpture and welcomes music (La Fenice), making Venice the goddess of the arts.