◎ 著者： 斯科特·内瑟索尔（Scott Nethersole）是伦敦大学考陶德艺术学院的高级讲师，主攻15—16世纪的意大利文艺复兴艺术，曾在英国国家美术馆和苏富比拍卖行任职。他的研究主要关注于15世纪佛罗伦萨的艺术和视觉文化，著有《早期文艺复兴时期的佛罗伦萨的艺术与暴力》 《有意的虔信：16世纪之前的意大利祭坛画》。 ◎ 译者： 顾芸培，中国人民大学艺术学院美术学学士，英国伦敦大学学院考古研究所文化遗产研究硕士。

[美] 理查德·A.戈德思韦特 | Richard A. Goldthwaite （1933—2024） 约翰斯·霍普金斯大学克里格文理学院历史学教授，杰出的近代早期欧洲史学家。1955—1956年在佛罗伦萨任富布赖特研究学者。1965年在哥伦比亚大学获得历史学博士学位。1968年加入约翰斯·霍普金斯大学，并于1998年荣休。1980年被授予“古根海姆学者”称号。1984年被授予意大利共和国功绩骑士勋章。 学术生涯致力于研究文艺复兴时期佛罗伦萨的经济活动对文化、社会和政治的影响，对近代早期意大利的物质文化史做出了重要贡献，拓展了学术界对资本主义和现代消费主义起源的理解。其著作和文章基于严谨的档案研究，探讨了文艺复兴时期佛罗伦萨的音乐、艺术、农业和建筑业，以及赞助人与工匠之间的经济关系，解说了这座城市商业、银行业和手工业的复杂运作机理。 除本书外，主要...(展开全部)

Florence was one of the most industrialized cities in medieval Europe, thanks to its thriving textile industries. The importation of raw materials and the exportation of finished cloth necessitated the creation of commercial and banking practices that extended far beyond Florence's boundaries. Part I situates Florence within this wider international context and describes the co...(展开全部)

The use of perspective in Renaissance painting caused a revolution in the history of seeing, allowing artists to depict the world from a spectator’s point of view. But the theory of perspective that changed the course of Western art originated elsewhere—it was formulated in Baghdad by the eleventh-century mathematician Ibn al Haithan, known in the West as Alhazen. Using the met...(展开全部)

The use of perspective in Renaissance painting caused a revolution in the history of seeing, allowing artists to depict the world from a spectator’s point of view. But the theory of perspective that changed the course of Western art originated elsewhere—it was formulated in Baghdad by the eleventh-century mathematician Ibn al Haithan, known in the West as Alhazen. Using the met...(展开全部)

In the fourteenth and fifteenth centuries, the city of Florence experienced the most creative period in her entire history. This book is an in-depth analysis of that dynamic community, focusing primarily on the years 1380-1450 in an examination of the city's physical character, its economic and social structure and developments, its political and religious life, and its cultura...(展开全部)

Many studies have shown that images—their presence in the daily lives of the faithful, the means used to control them, and their adaptation to secular uses—were at the heart of the Reformation crisis in northern Europe. But the question as it affects the art of Italy has been raised only in highly specialized studies. In this book, Alexander Nagel provides the first truly synt...(展开全部)

【著者简介】 [美] 斯蒂芬妮·波拉斯（Stephanie Porras），曾任教于考陶尔德艺术学院和哥伦比亚大学，现为杜兰大学艺术史教授。她的研究重点是15—17世纪的欧洲北部艺术，著有《彼得·勃鲁盖尔的历史想象》《北方文艺复兴艺术：宫廷、商业与虔信》《第一批病毒式传播的图像：梅尔滕·德·沃斯、安特卫普和早期现代全球》等。 - 【译者简介】 李方木，北京外国语大学文学博士，英语人文社科译者，现任山东师范大学外国语学院副教授，近期出版译著有《文艺复兴时期的威尼斯艺术：从传统到个人主义》《我和我的世界：威廉·福克纳传》等。

Many studies have shown that images—their presence in the daily lives of the faithful, the means used to control them, and their adaptation to secular uses—were at the heart of the Reformation crisis in northern Europe. But the question as it affects the art of Italy has been raised only in highly specialized studies. In this book, Alexander Nagel provides the first truly synt...(展开全部)

This book offers a wide-ranging introduction to the way that art was made, valued, and viewed in northern Europe in the age of the Renaissance, from the late fourteenth to the early years of the sixteenth century. Drawing on a rich range of sources, from inventories and guild regulations to poetry and chronicles, it examines everything from panel paintings to carved altarpieces...(展开全部)