Scott Nethersole – författare

This study is the first to examine the relationship between art and violence in 15th-century Florence, exposing the underbelly of a period more often celebrated for enlightened and progressive ideas. Renaissance Florentines were constantly subjected to the sight of violence, whether in carefully staged rituals of execution or images of the suffering inflicted on Christ. There was nothing new in this culture of pain, unlike the aesthetic of violence that developed towards the end of the 15th century. It emerged in the work of artists such as Piero di Cosimo, Bertoldo di Giovanni, Antonio del Pollaiuolo, and the young Michelangelo. Inspired by the art of antiquity, they painted, engraved, and sculpted images of deadly battles, ultimately normalizing representations of brutal violence. Drawing on work in social and literary history, as well as art history, Scott Nethersole sheds light on the relationship between these Renaissance images, violence, and ideas of artistic invention and authorship.

Lorenzo Ghiberti was the most celebrated sculptor of his day – praised by Alberti, admired by peers and trusted with Florence’s most prestigious commissions, including the iconic Baptistery doors. Yet his legacy has often been diminished, cast as a decorative hangover from the Gothic era and overshadowed by Donatello’s perceived Renaissance modernity. This book reconsiders Ghiberti’s achievement by focusing on his mastery of materials and design across bronze, glass, marble and drawing. From complex narrative reliefs to architectural ornament, Ghiberti emerges not just as a skilled craftsman, but as an inventive, multidimensional artist who redefined the possibilities of sculptural storytelling. By understanding him on his own terms, we gain a richer picture of early Renaissance invention and its lasting visual impact.

"Put your money on Leonardo in this restaging of the Turner prize of the High Renaissance." — The GuardianAt the turn of the 16th century, three titans of the Italian Renaissance briefly crossed paths, competing for the attention of the most powerful patrons in Republican Florence. In January 1504 the city’s most prominent artists came together to advise on an appropriate location for Michelangelo’s nearly finished sculpture of David. Among them was Leonardo da Vinci, who – like Michelangelo – had only recently returned to his native Florence. In this beautifully designed book, Scott Nethersole and Per Rumberg take Michelangelo’s celebrated Taddei Tondo as their starting point, and examine the rivalry between Michelangelo and Leonardo, and the influence of both on the young Raphael. Some of the finest examples of Italian Renaissance drawing are reproduced, including Leonardo’s Burlington House Cartoon and studies by Leonardo and Michelangelo for their murals commissioned by the Florentine government for the newly constructed council hall in the Palazzo della Signoria.