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The Anglo-Florentine Renaissance: Art for the Early Tudors

Overview

Under the rule of Henry VII (r. 1485-1509) England became a powerful nation. The Tudor court sought to express its worldliness and political clout through major artistic commissions, employing Florentine sculptors and painters to create lavish new interiors, suitable for entertaining foreign dignitaries, for its royal palaces. These were exemplified by Henry VIII's palace of Nonsuch, so named because no other palace could match its magnificence. Italian sculpture, painting, and tapestries of the day reflected an ...

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Overview

Under the rule of Henry VII (r. 1485-1509) England became a powerful nation. The Tudor court sought to express its worldliness and political clout through major artistic commissions, employing Florentine sculptors and painters to create lavish new interiors, suitable for entertaining foreign dignitaries, for its royal palaces. These were exemplified by Henry VIII's palace of Nonsuch, so named because no other palace could match its magnificence. Italian sculpture, painting, and tapestries of the day reflected an interest in portraiture and dynastic monuments, epitomized in England by the royal tomb projects created by Baccio Bandinelli, Benedetto da Rovezzano, and Pietro Torrigiani. 

Generously illustrated throughout, The Anglo-Florentine Renaissance traces the artistic links between Medicean Florence and Tudor England through essays by an international team of scholars and explores how the language of Florentine art effectively expressed England's political aspirations and rose to prominence as a new international courtly style.

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Product Details

  • ISBN-13: 9780300176087
  • Publisher: Yale Center for British Art
  • Publication date: 7/31/2012
  • Series: Studies in British Art Series , #22
  • Pages: 424
  • Product dimensions: 7.40 (w) x 10.20 (h) x 1.10 (d)

Meet the Author

Cinzia Maria Sicca is professor and director of the art history doctoral program in the Department of Art History at the Università di Pisa, Italy. Louis Waldman is an associate professor of art history at The University of Texas at Austin.

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Table of Contents

Acknowledgments vii

Abbreviations ix

Foreword Joseph Connors Brian Allen 1

Introduction Cinzia Maria Sicca Louis A. Waldman 5

Anglo-Florentine Contacts in the Age of Henry VIII: Political and Social Contexts Steven Gunn 19

Pietro Torrigiani and His Sculpture in Henrician England: Sources and Influences Alan Phipps Darr 49

Benedetto da Rovezzano in England and After: New Research on the Artist, His Collaborators, and His Family Louis A. Waldman 81

Benedetto da Rovezzano and the Altoviti in Florence: Hypotheses and New Interpretations for the Church of Santi Apostoli Benedetta Matucci 149

Benedetto da Rovezzano in England: New Light on the Cardinal "Wolsey-Henry VIII Tomb Francesco Caglioti 177

"142 Life-size Figures … with the King on Horseback": Baccio Bandinelli's Mausoleum for Henry VIII Giancarlo Gentilini Tommaso Mozzati 203

From "Defender of the Faith" to "Suppressor of the Pope": Visualizing the Relationship of Henry VIII to the Medici Popes Leo X and Clement VII Sheryl E. Reiss 235

Craftsmen and Courtiers: Italian Military Expertise at the Court of Henry VIII Maurice Howard 265

Holbein, Antonio Toto, and the Market for Italian Painting in Early Tudor England Susan Foister 281

Nonsuch, Henry VIU's Mirror for a Prince: Sources and Interpretation Martin Biddle 307

Giorgio Vasari and the Progress of Italian Art in Early Sixteenth-Century England Cinzia Maria Sicca 351

Notes on Contributors 395

Credits and Sources 399

Index 400

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