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- Author: Heidi J Hornik
- Publisher: Liverpool University Press
- Year: 2009
- Pages: 211
- ISBN-10: 1845191862
- ISBN-13: 9781845191863
- Format: 15 x 22.6 x 1.5 cm, softcover
- Language: English
- SAVE -10% with code: EXTRA
Michele Tosini and the Ghirlandaio Workshop in Cinquecento Florence (e-book) (used book) | bookbook.eu
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This book sets out to establish Michele Tosini's critical role in sixteenth-century Mannerist art in Florence. He was well-trained, well-educated and well-liked, and created a highly productive workshop environment that not only succeeded but thrived in one of the most competitive ages of artistic production in the history of art. To date, scholarship executed on Tosini (Carlo Gamba in 1928, Sydney Freedberg in 1974) has produced a plethora of misunderstandings about Tosini's role in the Florentine artistic community. The verdict that Tosini was a 'hack' painter who could make his works look like those of more 'established' painters in order to get commissions, and that he was an uneducated 'second-rate' painter who could not formulate complex iconographical programs, is at odds with the evidence presented in this current research. Tosini was much more than just 'the right man in the right place at the right time'. He not only promoted Mannerism, but was part of its process;
indeed, the formation of
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- Author: Heidi J Hornik
- Publisher: Liverpool University Press
- Year: 2009
- Pages: 211
- ISBN-10: 1845191862
- ISBN-13: 9781845191863
- Format: 15 x 22.6 x 1.5 cm, softcover
- Language: English English
This book sets out to establish Michele Tosini's critical role in sixteenth-century Mannerist art in Florence. He was well-trained, well-educated and well-liked, and created a highly productive workshop environment that not only succeeded but thrived in one of the most competitive ages of artistic production in the history of art. To date, scholarship executed on Tosini (Carlo Gamba in 1928, Sydney Freedberg in 1974) has produced a plethora of misunderstandings about Tosini's role in the Florentine artistic community. The verdict that Tosini was a 'hack' painter who could make his works look like those of more 'established' painters in order to get commissions, and that he was an uneducated 'second-rate' painter who could not formulate complex iconographical programs, is at odds with the evidence presented in this current research. Tosini was much more than just 'the right man in the right place at the right time'. He not only promoted Mannerism, but was part of its process;
indeed, the formation of
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