Federico Barocci (c. 1533/35–1612) was one of the most innovative Italian artists of the second half of the 16th century. His art combines the Renaissance focus on the human body with an unparalleled
Gillgren (art history, Stockholm U., Sweden) brings forward the Urbino painter Federico Barocci (1535-1612), who is less widely known than he should be outside of the scholars and connoisseurs who adm
Reviewers of a recent exhibition termed Federico Barocci (ca. 1533-1612), 'the greatest artist you’ve never heard of'. One of the first original iconographers of the Counter Reformation, Barocci was
Federico Barocci was among the most admired painters in sixteenth-century Italy, but the distinctive nature of his compelling altarpieces and their historical importance have never been fully understo
Why did Renaissance art come to matter so much, so widely, and for so long? Patricia Emison's answer draws on a recalibrated view of the long Renaissance – from 1300 to 1600 – synthesizing the considerable evolution in our understanding of the epoch since the foundational nineteenth-century studies of Jacob Burckhardt and Heinrich Wölfflin. Demonstrating that the imitation of nature and of antiquity must no longer define its limits, she exposes the self-consciously modern aspect of Renaissance style. She sets the art against the literary and political interests of time and analyzes works of both very familiar artists – Leonardo, Michelangelo, and Raphael – and lesser-known figures, such as Cima da Conegliano and Federico Barocci, as well as various printmakers. Succinct yet expansive, this treatment of the period also explores its layered significance for subsequent generations, from the Old Masters to the Post-Modernists.
