Here are 100 books that The Artist, the Philosopher, and the Warrior fans have personally recommended if you like
The Artist, the Philosopher, and the Warrior.
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I’m a Scottish writer, based in the USA after living in eight countries. I spent thirty years following work, family, and love, and my experiences seep into everything I write—so there are often elements of travel in my books. Thirteen years ago, I was diagnosed with a brain tumor, and underwent life-saving surgery. That experience gave me a new perspective on the power of the human spirit, and our ability to forge new and unexpected paths, in the face of adversity. I love to read about and create characters that take on life’s challenges and find inner strength they didn’t know they had. That’s why feisty female protagonists appeal to me.
Feisty female protagonists don’t come any better than Catriona Da Vinci. The Renaissance was a dangerous time for women when they were marginalized and bound by societal constructs. Not this lady, though. She was a brilliant, single mother—an alchemist and risk-taker. She devised a scheme that allowed her to be part of her illegitimate son, Leonardo’s life, which was nothing short of genius. She did what she had to do to protect him, no matter the cost to herself. She reminds me of my two amazing sisters and the lengths they would go to be there for their children, and for that—Catriona is my hero.
An enchanting novel on the life and origins of Leonardo da Vinci’s mother, as imagined by the author of the “absolutely superb” (Diane Haeger, author of The Secret Bride) Mademoiselle Boleyn.
A young woman named Caterina was only fifteen years old in 1452 when she bore an illegitimate child in the tiny village of Vinci. His name was Leonardo, and he was destined to change the world forever.
Caterina suffered much cruelty as an unmarried mother and had no recourse when her boy was taken away from her. But no one knew the secrets of her own childhood, nor could…
I’m a historical fiction author but have always enjoyed actually making things as well as writing. In the past, I was a theatre designer, so I was often immersed in recreating antique objects for the stage. Our versions weren’t the real thing–but it meant researching old crafts and then imitating them to build a convincing fake version. My research filled me with great admiration and respect for the real craftsmen of the past–their skill and artistry, and I only have to look at our old cathedrals–so lovingly created, to be inspired all over again.
Every Renaissance fan loves a bit of Leonardo, don’t they? And I was intrigued by the relationship between the older, established artist Leonardo and the hot-headed Michelangelo.
This is a brilliantly written book with lots of glorious details about art and painting. These are two giants of their time, and it was a brave subject to tackle–Storey manages to convey their intellect as well as their art.
Reading about the sheer labour involved in carving a block of stone into something human was really awe-inspiring, and Stephanie Storey does a great job of getting inside the heads of these two men.
In her brilliant debut, Storey brings early 16th-century Florence alive, entering with extraordinary empathy into the minds and souls of two Renaissance masters, creating a stunning art history thriller. From 1501 to 1505, Leonardo da Vinci and Michelangelo Buonarroti both lived and worked in Florence. Leonardo was a charming, handsome fifty year-old at the peak of his career. Michelangelo was a temperamental sculptor in his mid-twenties, desperate to make a name for himself.
Michelangelo is a virtual unknown when he returns to Florence and wins the commission to carve what will become one of the most famous sculptures of all…
I teach the histories of early modern Europe and European worlds at Macquarie University in Sydney, Australia. I developed a fascination for the period and, especially, for the Italian Renaissance as an undergraduate before going on to complete a PhD at Northwestern University in the United States. I love the contradictions and tensions of the period: a society and culture in transition from what we call medieval understandings and worldviews to what we see as more modern ones. These are some of the books that helped to fuel my passion for Renaissance Italian history and to answer some of my questions about what life was really like in Renaissance Italy.
This book presents six vignettes of sex and violence plucked by Thomas Cohen from the archives of the papal governor of sixteenth-century Rome.
I love Cohen’s passion for telling a good story without losing sight of its broader historical significance. Examining the everyday lives of people in the streets, Cohen reveals how a clash between the contradictory currents of Italian Renaissance society fueled much of its conflicts and discontents.
On the one hand, Christian religion preached mercy, forgiveness, and community, on the other the compelling codes of honor, familial loyalty, and unwritten social rules promoted violence and vengeance.
The book also reveals how women and other socially marginalized figures could navigate and manipulate these codes to find space and freedom in a world dominated by powerful men.
Gratuitous sex. Graphic violence. Lies, revenge, and murder. Before there was digital cable or reality television, there was Renaissance Italy and the courts in which Italian magistrates meted out justice to the vicious and the villainous, the scabrous and the scandalous. As dramatic and as moving as the television show The Borgias, and a lot more true to life, Love and Death in Renaissance Italy retells six piquant episodes from the Italian court just after 1550, as the Renaissance gave way to an era of Catholic reformation. Each of the chapters in this history chronicles a domestic drama around which…
Tap Dancing on Everest, part coming-of-age memoir, part true-survival adventure story, is about a young medical student, the daughter of a Holocaust survivor raised in N.Y.C., who battles self-doubt to serve as the doctor—and only woman—on a remote Everest climb in Tibet.
I started my career as a historian of historiography and now hold a chair in the history of the humanities at Leiden University. What I like about this field is its comparative agenda. How does art history relate to media studies, and what do Arabists have in common with musicologists? Even more intriguing, as far as I’m concerned, is the question of what holds the humanities together. I think that history can help us understand how the humanities have developed as they have, differently in different parts of the world. As the field called history of the humanities has only recently emerged, there is plenty of work to do!
Whether or not one wants to make a case for the modern humanities deriving from the studia humanitatisin Renaissance Italy, it is undeniable that Renaissance humanism has been a source of endless fascination for humanities scholars.I enjoyed this book partly because it shows how this fascination led seventeenth- and eighteenth-century scholars to “recapitulate practices and mentalities that Italian Renaissance humanists pioneered.” It is such borrowing and reapplying that explains how a “humanistic tradition” could take shape. Another intriguing point is Celenza’s argument that this tradition has historically revolved as much around wisdom as about knowledge. While we modern academics know very well how to produce knowledge, what has happened to the wisdom part? Can the humanities survive, Celenza asks, without “reflection on the self and on life”?
Christopher Celenza is one of the foremost contemporary scholars of the Renaissance. His ambitious new book focuses on the body of knowledge which we now call the humanities, charting its roots in the Italian Renaissance and exploring its development up to the Enlightenment. Beginning in the fifteenth century, the author shows how thinkers like Lorenzo Valla and Angelo Poliziano developed innovative ways to read texts closely, paying attention to historical context, developing methods to determine a text's authenticity, and taking the humanities seriously as a means of bettering human life. Alongside such novel reading practices, technology - the invention of…
Folk-singing was my first vocation, but I made a sudden left turn into comedy, becoming one-half of The Times Square Two. After a few years touring the world, I settled in Hollywood and became an actor, writer, and director. I was inspired to write The Food Taster by the maître d’ of a famous restaurant in Los Angeles. When I complained that my meal had made me ill, he smiled and said I should get myself a food taster.
Burckhardt’s encyclopedia became my bible. Whatever I needed to know about the clothing, or the buildings, or the politics—or anything else about that period, I only had to open Burckhardt’s book, and it was all there for me. The information was easy to find and eminently readable; and while I am hardly a scholar of the Renaissance, after devouring his book a thousand times I believe I can now call myself an honorable student.
For nineteenth-century Swiss historian Jacob Burckhardt, the Italian Renaissance was nothing less than the beginning of the modern world - a world in which flourishing individualism and the competition for fame radically transformed science, the arts, and politics. In this landmark work he depicts the Italian city-states of Florence, Venice and Rome as providing the seeds of a new form of society, and traces the rise of the creative individual, from Dante to Michelangelo. A fascinating description of an era of cultural transition, this nineteenth-century masterpiece was to become the most influential interpretation of the Italian Renaissance, and anticipated ideas…
I teach medieval and early modern European history at Dublin City University, with a particular interest in 16th-18th century Italian history. My own research focuses on the religious, legal, and popular culture of northern Italy, particularly Venice and the Veneto region. I became fascinated with Renaissance Italian history as an undergraduate at the College of William and Mary, and then went on to do a masters and a PhD at Northwestern University. I have taught at Northwestern, the College of William and Mary, the University of Warwick/Warwick in Venice, and the State University of New York at Cortland.
This book is a fantastic, broad overview of the Italian Renaissance (or rinascimento, the term Ruggiero prefers and which his subjects would have recognized). The Italian Rinascimento was a period, according to Ruggiero, of vibrant cities, social change, and cultural expression, in which intellectuals, politicians, and artists both looked back to an idealized classical past and forward to uncharted territory.
I love the way this book focuses on issues that preoccupied the people he studies and incorporates topics often absent from works on the Renaissance, including women, sexuality, economics, disease and death, and religion, among others. Even more important, perhaps, is that it is clear, accessible, and engaging, and demonstrates a wealth of knowledge developed over an illustrious career as a historian of early modern Italy.
This book offers a rich and exciting new way of thinking about the Italian Renaissance as both a historical period and a historical movement. Guido Ruggiero's work is based on archival research and new insights of social and cultural history and literary criticism, with a special emphasis on everyday culture, gender, violence and sexuality. The book offers a vibrant and relevant critical study of a period too long burdened by anachronistic and outdated ways of thinking about the past. Familiar, yet alien; pre-modern, but suggestively post-modern; attractive and troubling, this book returns the Italian Renaissance to center stage in our…
The Model Spy is based on the true story of Toto Koopman, who spied for the Allies and Italian Resistance during World War II.
Largely unknown today, Toto was arguably the first woman to spy for the British Intelligence Service. Operating in the hotbed of Mussolini's Italy, she courted danger…
My goal as a writer is to revive lost women’s stories through historical fiction. After co-authoring several historical novels, our last mystery set in Renaissance Rome, we decided to set the sequel in Venice. When we decided to split amicably before finishing that novel, I had spent so much time researching Renaissance Venice that I instantly knew I wanted to set my first solo novel there and focus on girls and women whose stories are so frequently lost to history. So began a quest to learn everything I could about the females of 15th and 16th-century Venice, leading me toward both academic and fictional works of the era.
This accessible academic work brings to life the inner workings – and breakdowns – of marriages at a time when annulment was the only option. Through court and ecclesiastical proceedings and petitions written by both sexes, the lives of ordinary women – including sexual relations, domestic abuse, cheating, and financial problems – are made even more real by the voices of friends, neighbors, and in-laws.
Based on a fascinating body of previously unexamined archival material, this book brings to life the lost voices of ordinary Venetians during the age of Catholic revival. Looking at scripts that were brought to the city's ecclesiastical courts by spouses seeking to annul their marriage vows, this book opens up the emotional world of intimacy and conflict, sexuality, and living arrangments that did not fit normative models of marriage.
When I started researching the history of early modern public execution, I read a few eyewitness accounts in which people behaved so strangely that I realised I understood nothing about the realities of this once-common historical practice. By reading the books on this list, I quickly discovered that the ceremony of capital punishment was a performance in which the entire community participated, filled with rituals and behaviours that had enormous emotional and spiritual significance for everyone involved, not just the ‘poor sinner’ on the scaffold. I also discovered that music and singing were crucial parts of the performance, with ballads being sung about the event for years afterwards.
It’s not often I’m moved to tears by an academic book, but this book did it for me by putting me in the shoes of a Florentine patrician trying to comfort his friend the night before his execution. The main historical source of the book is an extraordinary ‘how-to’ manual: the one used by the ‘comforting confraternities’ of 16th-century Bologna, men who volunteered to spiritually prepare condemned criminals for their final moments on earth and, in so doing, hopefully increase their chances of salvation. The book explains the various methods and tools that the comforter could use, including prayers, songs, and pictures, and reveals the complex rituals of execution that began long before the prisoner’s arrival at the scaffold. A moving account of the realities of historical capital punishment.
In Renaissance Italy a good execution was both public and peaceful―at least in the eyes of authorities. In a feature unique to Italy, the people who prepared a condemned man or woman spiritually and psychologically for execution were not priests or friars, but laymen. This volume includes some of the songs, stories, poems, and images that they used, together with first-person accounts and ballads describing particular executions. Leading scholars expand on these accounts explaining aspects of the theater, psychology, and politics of execution.
The main text is a manual, translated in English for the first time, on how to comfort…
I’m a historian and writer who strives to combine the history of science and medicine, the study of visual culture, and cultural history in my work. Although I hated being dragged round art galleries and museums as a child, something must have stuck, laying the foundations for my interest in using images and artefacts to understand both the past and the present. Since the early 1990s I’ve been writing about portraits, how they work, and why they are important—I remain gripped by the compelling ways they speak to identity. It was a privilege to serve as a trustee of the National Portrait Gallery in London between 2001 and 2009.
This book is simply brilliant. I first read it in the 1980s and return to it often for inspiration and to remind myself of its piercing lucidity. Beautifully written, clear, thoughtful, and direct, it expresses a way of looking at art and visual culture that can be applied to other times and places. Baxandall explores the social relationships and practices out of which works of art emerge, connecting the way paintings look with the society in which they were made. He robustly criticises simplistic approaches to the art of the past and shows how we can think differently and understand more. I have deep admiration for Michael Baxandall, whose writings encourage readers to reflect on their own visual skills and habits, how and where they have acquired them.
This book is both an introduction to fifteenth-century Italian painting, and a primer in how to read social history out of the style of pictures. It examines the commercial practice of the early Renaissance picture, trade in contracts, letters, and accounts; and it explains how the visual skills and habits evolved in the daily life of any society enter into its painters' style. Renaissance painting is related for instance to experience of such activities as preaching, dancing, and gauging barrels.
This second edition contains an appendix, the original Latin and Italian texts referred to throughout the book, giving the student…
The first and only full-length biography of Hazel Ying Lee, an unrecognized pioneer and unsung World War II hero who fought for a country that actively discriminated against her gender, race, and ambition.
This unique hidden figure defied countless stereotypes to become the first Asian American woman in United States…
I am an art historian from Rome and a professor at the University of Virginia, where I also served as associate dean for the arts and humanities and chair of the art department. Ever since as an undergraduate I heard a lecture from a professor on how important science was for Renaissance artists, I have been fascinated with this topic. I look at scientific images, such as maps and diagrams, as works of art, and interpret famous paintings, such as Leonardo da Vinci’s Mona Lisa, as scientific experiments. Among my books are The Marvel of Maps: Art, Cartography and Politics in the Renaissance, The Shadow Drawing. How Science Taught Leonardo How to Paint, and the digital publication Leonardo da Vinci and His Treatise on Painting.
Most art in the Renaissance was commissioned by specific patrons and this book superbly illustrates the complex interaction among patron, artist, and society by focusing on the greatest patron of art and architecture in fifteenth-century Florence. Cosimo de’ Medici was the most powerful figure in the city’s political and economic life, a fabulously wealthy banker, a devout Christian, but he had also an impeccable nose for great art. With the help of about 200 images, the book examines the religious, personal, and dynastic motivations behind Cosimo’s artistic patronage, both his direct commissions for the Medici palaces, villas, and chapels as well as his active involvement in the works officially commissioned by the republic. What you’ll get out of this book is a profound understanding of how art was commissioned, created, and viewed in Renaissance Florence.
Cosimo de' Medici (1389-1464), the fabulously wealthy banker who became the leading citizen of Florence in the fifteenth century, spent lavishly as the city's most important patron of art and literature. This remarkable book is the first comprehensive examination of the whole body of works of art and architecture commissioned by Cosimo and his sons. By looking closely at this spectacular group of commissions, we gain an entirely new picture of their patron and of the patron's point of view. Recurrent themes in the commissions-from Fra Angelico's San Marco altarpiece to the Medici Palace-indicate the main interests to which Cosimo's…
