III. Treatises, Artists’ Biographies, Emblem Books, and Other Renaissance Texts Related to Art
IV. Academies, Art Training, and Artistic Identity
V. Art Patronage and Collecting
C. High Renaissance and Mannerism
VII. Flanders and the Netherlands
The scholarly literature on Renaissance art is vast, mainly due to the fact that the most important masters of the era were influential characters whose innovations proved to be a major force in the development of later movements and that, in fact, continue to affect the production of art to this day. In compiling the bibliography, the list has therefore been limited to the key texts on the artists covered in the dictionary and introduction, and their most salient works, as well as themes crucial to the understanding of Renaissance art. The most current sources have been chosen, and older works have only been added when still considered standard for in-depth research.
The first section provides the survey books on the art created in the major artistic centers of Europe. Not only do these books present primordial models for scholarship, but they also include comprehensive bibliographies. Many are part of a series first published by Penguin Books under the editorship of Nikolaus Pevsner titled The Pelican History of Art, now taken over by Yale University Press, which continues to update these volumes for use as teaching tools. Others are from the Sources and Documents Series first published by Prentice Hall and edited by H. W. Janson and now taken over by Northwestern University Press. The books in this second series offer English translations of letters written by both Renaissance artists and patrons, early biographies, excerpts from art treatises, and other such invaluable documents that provide insight on the attitudes toward art during the period in question. The materials in this second series are in most cases abridged and, therefore, readers will benefit from consulting the primary sources listed under the next section in the bibliography, titled “Treatises, Artists’ Biographies, Emblem Books, and Other Renaissance Texts Related to Art.” That section also includes texts often used by artists and patrons as sources for subjects (for example, Tasso’s Gerusalemme Liberata), iconography manuals (such as Ripa’s Iconologia), and philosophical treatises (such as Ficino’s Platonic Theology) that had an impact on the art of the period.
Renaissance artists were cognizant of the revolutionary nature of their developments and felt the need to record them in writing for dissemination. Their rationalization of art and theoretical formulations led to major changes in their societal ranking. Early on considered mere manual laborers, artists eventually came to be seen as gifted geniuses blessed with the God-like ability to create. Consequently, art was raised from the realm of craft to that of liberal art and academies were founded to offer not only training but also an environment for learned discussion and theoretical thinking. Among these were the Accademia del Disegno in Florence, the Accademia di San Luca in Rome, the Accademia dei Desiderosi (later the Accademia degli Incamminati) in Bologna, and the French Academy in Paris. Sources on the training of artists and their rise in status are listed under the heading “Academies, Art Training, and Artistic Identity.”
The concept of an academy that provides an intellectually stimulating environment is familiar to the modern world. In the Renaissance, however, this was a novel idea for artists who had been trained since childhood in busy workshops alongside a master whose main concern was to produce art in as efficient and as timely a manner as possible. Also different from our modern views is that artistic freedom did not exist in the Renaissance and the large majority of the works then produced were made to order. They were commissioned under rigorous standards, the negotiations usually involving the signing of a legal contract. Only recently have scholars begun a systematic exploration of the processes involved in the fulfillment of commissions. A number of important anthologies and independent studies have been published that have revealed the rationale for commissioning and collecting art. The impulses that led to patronage and collecting varied. Some patrons engaged in the activity out of a sense of duty, as support of the arts was expected from individuals in the high echelons of society. Others used art as political propaganda, to memorialize a departed family member, or to celebrate a marriage, or purchased it simply for the appreciation of its aesthetic and intellectual value. Art sometimes also served as vehicle for the expiation of sins, for the attainment of salvation, or the commemoration of a miraculous event. The sources listed under the heading “Art Patronage and Collecting” unravel the intricacies of the relationships between artists and clients and of art as commodity.
Then follow a series of sections by region, starting with Italy, then Flanders and the Netherlands, Germany and Austria, France, England, and finally Spain and Portugal. In these sections, the books listed deal with individual artists and particular works of art and architecture. Since the scholarly literature on Italy is particularly abundant, this section has been subdivided chronologically, beginning with the Proto-Renaissance era and continuing to the Early Renaissance, High Renaissance and Mannerism, and Baroque.
Here, mention must also be made of some useful Internet sources. The Web Gallery of Art, www.wga.hu; Olga’s Gallery, www.abcgallery.com; and Artchive, http://artchive.com/ftp_site.htm provide general biographical information on artists and are valuable for their collection of images. The Catholic Encyclopedia is available online, www.newadvent.org/cathen/index.html, and is useful mainly as a historical source, particularly on the papacy and popes, cardinals, and bishops who were among the greatest supporters of art. The Best of History Websites includes a comprehensive list of sites related to art history, www.besthistorysites.net/ArtHistory.shtml. Of these, The Mother of All Art and Art History site, www.art-design.umich.edu/mother, stands out as it includes links to research sources, image collections and online art, and art history journals and newsletters. Finally, most museums today maintain websites that include information on the works in their collections and the artists who created them. Lists of museums and links to their websites are available at The Mother of All Art and Art History site.
Adams, Laurie Schneider. Italian Renaissance Art. Boulder, Colo.: Westview Press, 2001.
Ames-Lewis, Francis. The Intellectual Life of the Early Renaissance Artist. New Haven, Conn.: Yale University Press, 2000.
Baneke, Joost, ed. Dutch Art and Character: Psychoanalytic Perspectives on Bosch, Bruegel, Rembrandt, van Gogh, Mondrian, Willink, Queen Wilhelmina. Amsterdam: Swets & Zeitlinger, 1993.
Benedict, Nicholson. Caravaggism in Europe. Turin: U. Allemandi, 1989.
Blunt, Anthony. Art and Architecture in France 1500–1700. New Haven, Conn.: Yale University Press, 1999.
Boucher, Bruce. Italian Baroque Sculpture. London: Thames & Hudson, 1998.
Brown, Jonathan. Painting in Spain 1500–1700. New Haven, Conn.: Yale University Press, 1998.
Brown, Patricia Fortini. Art and Life in Renaissance Venice. Upper Saddle River, N.J.: Prentice Hall & Harry N. Abrams, 1997.
Campbell, Gordon. Renaissance Art and Architecture. Oxford: Oxford University Press, 2004.
Chadwick, Whitney. Women, Art, and Society. London: Thames & Hudson, 1990.
Cheney, Liana de Girolami, Alicia Craig Faxon, and Kathleen Lucey Russo. Self-Portraits by Women Painters. Aldershot, U.K.: Ashgate, 2000.
Cole, Alison. Virtue and Magnificence: Art of the Italian Renaissance Courts. New York: Harry N. Abrams, 1995.
Cole, Bruce. Italian Art, 1250–1550: The Relation of Renaissance Art to Life and Society. New York: Harper & Row, 1987.
———. The Renaissance Artist at Work: From Pisano to Titian. New York: Harper & Row, 1983.
Cuttler, Charles D. Northern Painting from Pucelle to Bruegel/Fourteenth, Fifteenth, and Sixteenth Centuries. New York: Holt, Rinehart & Winston, 1968.
Delaney, John J. Dictionary of Saints. New York: Image Books, Doubleday, 1983.
Enggass, Robert, and Jonathan Brown. Italy and Spain, 1600–1750: Sources and Documents. Evanston, Ill.: Northwestern University Press, 1992.
Freedberg, Sydney Joseph. Painting in Italy 1500–1600. New Haven, Conn.: Yale University Press, 1993.
Gilbert, Creighton E. Italian Art, 1400–1500: Sources and Documents. Evanston, Ill.: Northwestern University Press, 1992.
Hale, J. R., ed. Encyclopaedia of the Italian Renaissance. London: Thames & Hudson, 1981.
Hartt, Frederick. History of Italian Renaissance Art: Painting, Sculpture, Architecture. New York: Harry N. Abrams, 2003.
Haskell, Francis. Patrons and Painters: Art and Society in Baroque Italy. New Haven, Conn.: Yale University Press, 1980.
Heydenreich, Ludwig Heinrich. Architecture in Italy 1400–1500. New Haven, Conn.: Yale University Press, 1996.
Hollingsworth, Mary. Patronage in Renaissance Italy: From 1400 to the Early Sixteenth Century. Baltimore, Md.: Johns Hopkins University Press, 1994.
Howarth, David. Images of Rule: Art and Politics in the English Renaissance, 1485–1649. Berkeley: University of California Press, 1997.
Impelluso, Lucia. Gods and Heroes in Art. Translated by Thomas Michael Hartmann. Los Angeles: J. Paul Getty Museum, 2002.
Jenkens, A. Lawrence, ed. Renaissance Siena: Art in Context. Kirksville, Mo.: Truman State University Press, 2005.
Kahr, Madlyn Millner. Dutch Painting in the Seventeenth Century. New York: Harper & Row, 1978.
Kelly, J. N. D. The Oxford Dictionary of Popes. Oxford: Oxford University Press, 1986.
Klein, Robert, and Henri Zerner. Italian Art, 1500–1600: Sources and Documents. Evanston, Ill.: Northwestern University Press, 1994.
Kliemann, Julian-Matthias. Italian Frescoes: High Renaissance and Mannerism, 1510–1600. New York: Abbeville Press, 2004.
Lawrence, Cynthia, ed. Women and Art in Early Modern Europe: Patrons, Collectors, and Connoisseurs. University Park: Pennsylvania State University Press, 1997.
Levy, Allison M. Re-membering Masculinity in Early Modern Florence: Widowed Bodies, Mourning and Portraiture. Aldershot, U.K.: Ashgate, 2003.
Lotz, Wolfgang. Architecture in Italy 1500–1600. New Haven, Conn.: Yale University Press, 1995.
Magnuson, Torgil. Rome in the Age of Bernini. 2 vols. Stockholm: Almqvist & Wiksell, 1982.
Mateer, David, ed. The Renaissance in Europe: A Cultural Enquiry, Courts, Patrons and Poets. New Haven, Conn.: Yale University Press, 2000.
Mérot, Alain. French Painting in the Seventeenth Century. New Haven, Conn.: Yale University Press, 1995.
Metropolitan Museum of Art. The Age of Caravaggio. New York: Metropolitan Museum of Art, 1985.
Montagu, Jennifer. Roman Baroque Sculpture: The Industry of Art. New Haven, Conn.: Yale University Press, 1989.
National Gallery of Art. The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries. Washington, D.C.: National Gallery of Art, 1986.
Pächt, Otto. Early Netherlandish Painting: From Rogier van der Weyden to Gerard David. Edited by Monika Rosenauer. Translated by David Britt. London: Harvey Miller, 1997.
Panofsky, Erwin. Early Netherlandish Painting: Its Origins and Character. New York: Harper & Row, 1971.
Partridge, Loren W. The Art of the Renaissance in Rome 1400–1600. Upper Saddle River, N.J.: Prentice Hall, 2005.
Pearson, Andrea. Envisioning Gender in Burgundian Devotional Art, 1350–1530: Experience, Authority, Resistance. Aldershot, U.K.: Ashgate, 2005.
Pope-Hennessy, John. Italian Renaissance Sculpture: An Introduction to Italian Sculpture. 3 vols. New York: Vintage Books, 1985.
Slive, Seymour. Dutch Painting 1600–1800. New Haven, Conn.: Yale University Press, 1995.
Smyth, Craig Hugh. Mannerism and Maniera. Vienna: IRSA, 1992.
Stechow, Wolfgang. Northern Renaissance Art 1400–1600: Sources and Documents. Evanston, Ill.: Northwestern University Press, 1989.
Tinagli, Paola. Women in Italian Renaissance Art: Gender, Representation and Identity. Manchester: Manchester University Press, 1997.
Tomlinson, Janis. From El Greco to Goya: Painting in Spain, 1561–1828. New York: Harry N. Abrams, 1997.
Turner, Richard A. Renaissance Florence: The Invention of a New Art. Upper Saddle River, N.J.: Prentice Hall & Harry N. Abrams, 1997.
Varriano, John. Italian Baroque and Rococo Architecture. New York: Oxford University Press, 1986.
Vlieghe, Hans. Flemish Art and Architecture 1585–1700. New Haven, Conn.: Yale University Press, 1998.
Voss, Hermann. Painting in the Late Renaissance in Rome and Florence. Revised and translated by Susanne Pelzel. San Francisco: Alan Wofsy Fine Arts, 1997.
Waterhouse, Ellis Kirkham. Painting in Britain: 1530 to 1790. 5th ed. New Haven, Conn.: Yale University Press, 1994.
Welch, Evelyn. Art in Renaissance Italy 1350–1500. Oxford: Oxford University Press, 2000.
Westermann, Mariët. A Worldly Art: The Dutch Republic 1585–1718. Upper Saddle River, N.J.: Prentice Hall & Harry N. Abrams, 1996.
Wittkower, Rudolf. Art and Architecture in Italy 1600–1750. Harmondsworth, U.K.: Penguin Books, 1980.
Wolf, Robert Erich. Renaissance and Mannerist Art. New York: Abrams, 1968.
Zerner, Henri. Renaissance Art in France: The Invention of Classicism. Paris: Flammarion, 2003.
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———. On Painting. Translated by Cecil Grayson. London: Penguin Books, 1991.
———. On the Art of Building in Ten Books. Translated by Joseph Rykwert, Neil Leach, and Robert Tavernor. Cambridge, Mass.: MIT Press, 1988.
Alciati, Andrea. Emblemata: Lyons, 1550. Translated and edited by Betty I. Knott. Aldershot, U.K.: Scolar Press, 1996.
Ariosto, Lodovico. Orlando Furioso. Edited by Gioacchino Paparelli. Milan: Biblioteca universale Rizzoli, 2000.
Baglione, Giovanni. Le vite de’ pittori, scultori et architetti: dal pontifcato di Gregorio XIII del 1572 in fino a’ tempi di Papa Urbano Ottavo nel 1642. Edited by Jacob Hess and Herwarth Röttgen. Vatican: Biblioteca Apostolica Vaticana, 1995.
Baldinucci, Filippo. Life of Bernini. Translated by Catherine Enggass. University Park: Pennsylvania State University Press, 1966.
———. Notizie dei professori del disegno da Cimabue in qua. Florence: S.P.E.S., 1974–1975.
Bellori, Giovanni Pietro. The Lives of Annibale and Agostino Carracci. Translated by Catherine Enggass. University Park: Pennsylvania State University Press, 1968.
———. The Lives of the Modern Painters, Sculptors and Architects. Edited by Alice Sedgwick Wohl and Hellmut Wohl. New York: Cambridge University Press, 2005.
———. Vite di Guido Reni, Andrea Sacchi, e Carlo Maratti. Rome: Biblioteca d’arte editrice, 1942.
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———. Famous Women. Translated by Virginia Brown. Cambridge, Mass.: Harvard University Press, 2001.
Borsi, Franco. Leon Battista Alberti: The Complete Works. London: Faber & Faber, 1989.
Cairns, Christopher. Pietro Aretino and the Republic of Venice: Researches on Aretino and His Circle in Venice, 1527–1556. Florence: L. S. Olschki, 1985.
Carduccho, Vicente. Diálogos de la pintura: Su defensa, origen, esencia, definición, modos y diferencias. Edited by Francisco Calvo Serraller. Madrid: Turner, D. L., 1979.
Cellini, Benvenuto. The Life of Benvenuto Cellini Written by Himself. Translated by John Addington Symonds. 2nd ed. London: Phaidon Press, 1995.
Cennini, Cennino. Il libro dell’ arte. Edited by Franco Brunello. Vincenza: N. Pozza, 1998.
Chantelou, Paul Fréart. Diary of the Cavaliere Bernini’s Visit to France. Edited by Anthony Blunt. Translated by Margery Corbett. Princeton, N.J.: Princeton University Press, 1985.
Colonna, Francesco. Hypnerotomachia Poliphili. Edited by Marco Ariani and Mino Gabrielle. Milan: Adelphi Edizioni, 1998.
Condivi, Ascanio. The Life of Michel-Angelo. Edited by Hellmut Wohl. Translated by Alice Sedgwick Wohl. 2nd ed. University Park: Pennsylvania State University Press, 1999.
De Mambro Santos, Ricardo. Arcadie del Vero: arte e teoria nella Roma del Seicento. Rome: Apeiron, 2001.
Dürer, Albrecht. Diary of His Journey to the Netherlands, 1520–1521, Accompanied by the Silverpoint Sketchbook, and Paintings and Drawings Made during His Journey. Translated by Philip Troutman. Greenwich, Conn.: New York Graphic Society, 1971.
———. The Painter’s Manual: A Manual of Measurement of Lines, Areas, and Solids by Means of Compass and Ruler Assembled by Albrecht Dürer for the Use of All Lovers of Art with Appropriate Illustrations Arranged to Be Printed in the Year MDXXV. Translated by Walter L. Strauss. New York: Abaris Books, 1977.
Ficino, Marsilio. Platonic Theology. Edited by James Hankins and William Bowen. Translated by Michael J. B. Allen and John Warden. Cambridge, Mass.: Harvard University Press, 2001.
Filarete, Antonio. Trattato di architettura. Edited by Anna Maria Finoli and Liliana Grassi. Milan: Il Polifilo, 1972.
Finotti, Fabio. Retorica della diffrazione: Bembo, Aretino, Giulio Romano e Tasso, letteratura e scena cortigiana. Florence: L. S. Olschki, 2004.
Freedman, Luba. Titian’s Portraits through Aretino’s Lens. University Park: Pennsylvania State University Press, 1995.
Ghiberti, Lorenzo. I Commentarii: Biblioteca nazionale centrale di Firenze, II, I, 333. Edited by Lorenzo Bartoli. Florence: Giunti, 1998.
Ivins, William Mills. On the Rationalization of Sight: With an Examination of Three Renaissance Texts on Perspective. New York: Da Capo Press, 1973.
Jarzombek, Mark. On Leon Battista Alberti: His Literary and Aesthetic Theories. Cambridge, Mass.: MIT Press, 1989.
Kanerva, Liisa. Defining the Architect in Fifteenth-Century Italy: Exemplary Architects in L. B. Alberti’s De re aedificatoria. Helsinki: Suomamalainen Tiedeakatemia, 1998.
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Malvasia, Cesare. Felsina Pittrice: Vite dei pittori bolognesi. Bologna: Alfa, 1971.
———. Malvasia’s Life of the Carracci: Commentary and Translation. Translated by Anne Summerscale. University Park: Pennsylvania State University Press, 2000.
Mancini, Giulio. Considerazioni sulla pittura. Rome: Accademia nazionale dei Lincei, 1956.
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Mander, Karel van. The Lives of the Illustrious Netherlandish and German Painters, from the First Edition of the Schilder-Boeck (1603–1604): Preceded by the Lineage, Circumstances and Place of Birth, Life and Works of Karel Van Mander, Painter and Poet and Likewise His Death and Burial, from the Second Edition of the Schilder-Boeck (1616–1618). Edited and translated by Hessel Miedema. Doornspijk, Netherlands: Davaco, 1994.
Massey, Lyle, ed. The Treatise on Perspective: Published and Unpublished. Washington, D.C.: National Gallery & Yale University Press, 2003.
O’Neil, Maryvelma Smith. Giovanni Baglione: Artistic Reputation in Baroque Rome. Cambridge: Cambridge University Press, 2002.
Pacheco, Francisco. Arte de la pintura. Madrid: Instituto de Valencia de Don Juan, 1956.
Paleotti, Gabriele. Discorso intorno alle imagini sacre et profane: Bologna, 1582. Edited by Paolo Prodid. Bologna: Arnaldo Forni, 1990.
Palladio, Andrea. The Four Books of Architecture. London: Isaac Ware, n.d.
Palomino de Castro y Velasco, Antonio. Lives of the Eminent Spanish Painters and Sculptors. Translated by Nina Ayala Mallory. Cambridge: Cambridge University Press, 1987.
———. El museo pictorico, y escala óptica. Teórica de la pintura, en que se describe su origen, esencia, especies y qualidades, con todos los demas accidentes que la enriquecen é ilustran. Y se prueban con demonstraciones matematicas y filosoficas sus mas radicales fundamentos. 3 vols. Madrid: Imprenta de Sancha, 1795–1797.
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Ridolfi, Carlo. The Life of Tintoretto, and of His Children Domenico and Marietta. Translated by Catherine Enggass and Robert Enggass. University Park: Pennsylvania State University Press, 1984.
———. The Life of Titian. Translated by Julia Conaway Bondanella and Peter Bondanella. University Park: Pennsylvania State University Press, 1996.
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Vasari, Giorgio. The Lives of the Artists. Translated by Julia Conaway Bondanella and Peter Bondanella. Oxford: Oxford University Press, 1991.
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Waddington, Raymond B. Aretino’s Satyr: Sexuality, Satire and Self-Projection in Sixteenth-Century Literature and Art. Toronto: University of Toronto Press, 2004.
Ames-Lewis, Francis. The Intellectual Life of the Early Renaissance Artist. New Haven, Conn.: Yale University Press, 2000.
Barzman, Karen-edis. The Florentine Academy and the Early Modern State: The Discipline of Disegno. Cambridge: Cambridge University Press, 2000.
Boschloo, Anton W. A., et al. Academies of Art between Renaissance and Romanticism. s-Gravenhage, Netherlands: SDU, 1989.
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Field, Arthur. The Origins of the Platonic Academy of Florence. Princeton, N.J.: Princeton University Press, 1988.
Gallucci, Margaret A. Benvenuto Cellini, Sexuality, Masculinity, and Artistic Identity in Renaissance Italy. New York: Houndmills & Palgrave Macmillan, 2003.
Goldstein, Carl. Teaching Art: Academies and Schools from Vasari to Albers. Cambridge: Cambridge University Press, 1996.
Ladis, Andrew, and Carolyn Wood, eds. The Craft of Art. Originality and Industry in the Italian Renaissance and Baroque Workshop. Athens: University of Georgia Press, 1995.
Martindale, Andrew. The Rise of the Artist in the Middle Ages and the Early Renaissance. New York: McGraw-Hill, 1972.
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Pevsner, Nikolaus. Academies of Art, Past and Present. New York: Da Capo Press, 1973.
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Scheller, Robert W. Exemplum: Model-Book Drawings and the Practice of Artistic Transmission in the Middle Ages (ca. 900–1470). Amsterdam: Amsterdam University Press, 1995.
Thomas, Anabel. The Painter’s Practice in Renaissance Tuscany. Cambridge: Cambridge University Press, 1995.
Wackernagel, Martin. The World of the Florentine Renaissance Artist: Projects and Patrons, Workshop and Art Market. Translated by Alison Luchs. Princeton, N.J.: Princeton University Press, 1981.
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Chambers, David Sanderson. Patrons and Artists in the Italian Renaissance. London: Macmillan, 1970.
Checa Cremades, Fernando. Carlos V y la Imagen del Héroe en el Renacimiento. Madrid: Taurus, 1987.
Chong, Alan, Donatella Pegazzano, and Dimitrios Zikos. Raphael, Cellini, and a Renaissance Banker: The Patronage of Bindo Altoviti. Translated by Mario Pereira et al. Boston, Mass.: Isabella Stewart Gardner Museum, 2003.
Cox-Rearick, Janet. The Collection of Francis I: Royal Treasures. Antwerp: Fonds Mercator, Harry N. Abrams, 1996.
———. Dynasty and Destiny in Medici Art: Pontormo, Leo X, and the Two Cosimos. Princeton, N.J.: Princeton University Press, 1984.
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Fliegel, Stephen N., and Sophie Jugie in collaboration with Virginie Barthélémy. Art from the Court of Burgundy: The Patronage of Philip the Bold and John the Fearless 1364–1419: Musée des Beaux-Arts de Dijon, May 28–September 15, 2004, the Cleveland Museum of Art, October 24, 2004–January 9, 2005. Dijon: Musée des Beaux-Arts, Cleveland Museum of Art, & Réunion des Musées Nationaux, 2004.
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Gallo, Marco. I cardinali di Santa Romana Chiesa: collezionisti e mecenati. Rome: Associazione culturale Shakespeare and Company 2, 2001–2002.
Gee, Loveday Lewes. Women, Art and Patronage from Henry III to Edward III, 1216–1377. Woodbridge, U.K.: Boydell Press, 2002.
Gilman, Ernest B. Recollecting the Arundel Circle: Discovering the Past, Recovering the Future. New York: Peter Lang, 2002.
Goffen, Rona. Piety and Patronage in Renaissance Venice: Bellini, Titian, and the Franciscans. New Haven, Conn.: Yale University Press, 1986.
Goldberg, Edward L. After Vasari: History, Art, and Patronage in Late Medici Florence. Princeton, N.J.: Princeton University Press, 1988.
———. Patterns in Late Medici Art Patronage. Princeton, N.J.: Princeton University Press, 1983.
Goldfarb, Hilliard Todd, ed. Richelieu: Art and Power. Montreal: Montreal Museum of Fine Arts, Wallraf-Richartz-Museum-Fondation Corboud, Snoeck-Ducaju & Zoon, 2002.
Harness, Kelley Ann. Echoes of Women’s Voices: Music, Art, and Female Patronage in Early Modern Florence. Chicago: Chicago University Press, 2006.
Haskell, Francis. Patrons and Painters: Art and Society in Baroque Italy. New Haven, Conn.: Yale University Press, 1980.
Hollingsworth, Mary. Patronage in Renaissance Italy: From 1400 to the Early Sixteenth Century. Baltimore, Md.: Johns Hopkins University Press, 1994.
Howarth, David. Lord Arundel and His Circle. New Haven, Conn.: Yale University Press, 1985.
Jones, Pamela M. Federico Borromeo and the Ambrosiana: Art Patronage and Reform in Seventeenth-Century Milan. Cambridge: Cambridge University Press, 1993.
Kalveram, Katrin. Die Antikensammlung des Kardinals Scipione Borghese. Worms am Rhein, Germany: Wernersche Verlagsgesellschaft, 1995.
Kempers, Bram. Painting, Power, and Patronage: The Rise of the Professional Artist in the Italian Renaissance. Translated by Beverley Jackson. London: A. Lane, Penguin Press, 1992.
Kent, D. V. Cosimo de’ Medici and the Florentine Renaissance: The Patron’s Oeuvre. New Haven, Conn.: Yale University Press, 2000.
Kent, F. W., and Patricia Simons, eds. Patronage, Art, and Society in Renaissance Italy. New York: Oxford University Press, 1987.
King, Catherine. Renaissance Women Patrons: Wives and Widows in Italy c. 1300–c. 1550. Manchester, U.K.: Manchester University Press, 1998.
Leone De Castris, Pierluigi. Arte di corte nella Napoli angioina. Florence: Cantini, 1986.
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