Book contents
- Practice and Theory in the Italian Renaissance Workshop
- Practice and Theory in the Italian Renaissance Workshop
- Copyright page
- Dedication
- Contents
- Acknowledgments
- Introduction Verrocchio Experimentalist
- 1 Verrocchio's Ingenuity
- 2 Verrocchio's Medici Tomb: Art as Treatise
- 3 Bridging Dimensions: Verrocchio's Christ and Saint Thomas as Absent Presence
- 4 The Sculptured Imagination
- 5 Material Meditations in Verrocchio's Bargello Crucifix
- Conclusion
- A Note on Archival Sources
- Bibliography
- Notes
- Index
1 - Verrocchio's Ingenuity
Published online by Cambridge University Press: 06 July 2019
- Practice and Theory in the Italian Renaissance Workshop
- Practice and Theory in the Italian Renaissance Workshop
- Copyright page
- Dedication
- Contents
- Acknowledgments
- Introduction Verrocchio Experimentalist
- 1 Verrocchio's Ingenuity
- 2 Verrocchio's Medici Tomb: Art as Treatise
- 3 Bridging Dimensions: Verrocchio's Christ and Saint Thomas as Absent Presence
- 4 The Sculptured Imagination
- 5 Material Meditations in Verrocchio's Bargello Crucifix
- Conclusion
- A Note on Archival Sources
- Bibliography
- Notes
- Index
Summary
This chapter situates Verrocchio’s tendency for technical experimentation in the context of Renaissance Florence more broadly, where competition among artists was fierce, experimentation was the norm, and patrons were fascinated with artistic processes. The chapter also explores the roles of assistants in Verrocchio’s workshop.
- Type
- Chapter
- Information
- Practice and Theory in the Italian Renaissance WorkshopVerrocchio and the Epistemology of Making Art, pp. 35 - 73Publisher: Cambridge University PressPrint publication year: 2019