Piers D Britton

Biographic Data

ID8504424
NAMEPiers D Britton
GIVEN NAMESPiers D
FAMILY NAMEBritton
SIGNATUREBRITTON P D
AFFILIATIONSUniversity of Redlands
VERIFIEDNo
TOTAL WORKS19
TOTAL CITATIONS0
WORKS AS AUTHOR19
WORKS AS EDITOR0
FIRST PUBLICATION YEAR2002
LATEST PUBLICATION YEAR2022
H-INDEX0

  • The Grace of the Italian Renaissance

    Piers D Britton, Piers BrittonARTICLESixteenth Century Journal2022

  • Eternal Ephemera

    Piers D BrittonARTICLESixteenth Century Journal2022

  • Leonardo’s Paradox

    Piers D BrittonARTICLESixteenth Century Journal2021

  • Raphael

    Piers D BrittonARTICLESixteenth Century Journal2019

  • Gardens of Renaissance Europe and the Islamic Empires

    Piers D BrittonARTICLESixteenth Century Journal2018

  • Architectural Invention in Renaissance Rome

    Piers D BrittonARTICLESixteenth Century Journal2018

  • The Sculpture of Tullio Lombardo

    Piers D Britton, Piers BrittonARTICLESixteenth Century Journal2016

  • Isabella and Leonardo

    Piers D BrittonARTICLESixteenth Century Journal2014

  • Art and Love in Renaissance Italy

    Piers D BrittonARTICLESixteenth Century Journal2011

  • Art and the Augustinian Order in Early Renaissance Italy

    Piers D BrittonARTICLESixteenth Century Journal2009

  • Raphael and the bad humours of painters in Vasari's Lives of the Artists

    Open AccessPiers D G Britton, Piers D BrittonARTICLERenaissance Studies2008

    Throughout his monumental series of artists’ biographies, and above all in the section of this text dealing with his contemporaries, Giorgio Vasari used the medically related terms ‘complexion’ and ‘humour’ in distinct – though not wholly discrete – ways. The former is deployed to comment on artists’ innate constitutional strength and on changes in their health, while the latter is invoked primarily to characterize pathological tendencies – often…

  • Titian and Tragic Painting

    Piers D BrittonARTICLESixteenth Century Journal2007

    Late in his life Titian created a series of paintings - the 'Four Sinners', the 'poesie' for his patron Philip II of Spain, and the 'Final Tragedies' - that were dark in tone and content, full of pathos and physical suffering. In this major reinterpretation of Titian's art, Thomas Puttfarken shows that the often dramatic and violent subject matter of these works was not, as is often argued, the consequence of the artist's increasing age and sense…

  • Pontormo, Bronzino, and the Medici

    Piers D BrittonARTICLESixteenth Century Journal2006

  • Giovanni Bellini and the Art of Devotion

    Piers D BrittonARTICLESixteenth Century Journal2006

  • Private Lives in Renaissance Venice

    Piers D BrittonARTICLESixteenth Century Journal2006

    This book offers an engaging and original perspective on the private lives and material culture of patrician families in sixteenth-century Venice. Distinguished art historian Patricia Fortini Brown takes us behind the elegant facades of grand palaces built along the Venetian canals and examines the roles of both fine and applied arts in family life as well as the public messages that these impressive homes conveyed. Illustrated with hundreds of v…

  • Ave Papa, Ave Papabile

    Piers D BrittonARTICLESixteenth Century Journal2006

  • The Cultural World of Eleonora di Toledo, Duchess of Florence and Siena

    Piers D BrittonARTICLESixteenth Century Journal2005

    Contents: Introduction, Konrad Eisenbichler Veni, sponsa. Love and politics at the wedding of Eleonora di Toledo, Mary A. Watt A 'Laura' for Cosimo: Bronzino's Eleonora di Toledo with her Son Giovanni, Gabrielle Langdon La fecundissima Signora Duchessa: the courtly persona of Eleonora di Toledo and the iconography of abundance, Bruce L. Edelstein A duchess' place at court: the Quartiere di Eleonora in the Palazzo della Signoria in Florence, Ilari…

  • "Mio malinchonico, o vero… mio pazzo"

    Piers D Britton, Piers BrittonARTICLESixteenth Century Journal2003

    This article concerns attitudes to melancholia and melancholic painters in the literature of the arts from sixteenth-century Italy, and focuses primarily on the writings of Giorgio Vasari, with some attention also to texts by Pino, Dolce, Lomazzo, and others. Remarks made by these authors are analyzed in relation to other sources of primary evidence, ranging from a carnival song to a treatise by Marsilio Ficino on black bile, the humor supposed t…

  • The Signs of Faces

    Open AccessPiers D G Britton, Piers D BrittonARTICLERenaissance Studies2002

    Leonardo da Vinci's engagement with the ancient science of physiognomy has been noted by several scholars, but most studies have provided tendentious accounts of his attitude to the discipline. There has, in short, been too great a willingness to view Leonardo as ‘proto‐modern’ in his outlook, and to detach him artificially from earlier conceptual models of physiognomic science. The purpose of this article is to suggest, with reference primarily …