Italian

The Italian sculptor known as Donatello helped to forge a new kind of art--one that came to define the Renaissance. His work was progressive, challenging, and even controversial. Using a variety of novel sculptural techniques and innovative interpretations, Donatello uniquely depicted themes involving human sexuality, violence, spirituality, and beauty. But to really understand Donatello, one needs to understand his changing world, marked by the transition from Medieval to Renaissance style and to an art that was more personal and representative of the modern self. Donatello was not just a man of his times, he helped shape the spirit of the times he lived in and profoundly influenced those that came after. In this beautifully illustrated book--the first thorough biography of Donatello in twenty-five years--A. Victor Coonin describes the full extent of Donatello's revolutionary contributions, revealing how his work heralded the emergence of modern art.

A comprehensive survey of the work of this most influential Florentine artist and teacher Andrea del Verrocchio (c. 1435-1488) was one of the most versatile and inventive artists of the Italian Renaissance. He created art across media, from his spectacular sculptures and paintings to his work in goldsmithing, architecture, and engineering. His expressive, confident drawings provide a key point of contact between sculpture and painting. He led a vibrant workshop where he taught young artists who later became some of the greatest painters of the period, including Leonardo da Vinci, Sandro Botticelli, Lorenzo di Credi, and Domenico Ghirlandaio. This beautifully illustrated book presents a comprehensive survey of Verrocchio's art, spanning his entire career and featuring some fifty sculptures, paintings, and drawings, in addition to works he created with his students. Through incisive scholarly essays, in-depth catalog entries, and breathtaking illustrations, this volume draws on the latest research in art history to show why Verrocchio was one of the most innovative and influential of all Florentine artists. Published in association with the National Gallery of Art, Washington, DC

In 1942, a team at the University of Chicago achieved what no one had before: a nuclear chain reaction. At the forefront of this breakthrough stood Enrico Fermi. Straddling the ages of classical physics and quantum mechanics, equally at ease with theory and experiment, Fermi truly was the last man who knew everything-at least about physics. But he was also a complex figure who was a part of both the Italian Fascist Party and the Manhattan Project, and a less-than-ideal father and husband who nevertheless remained one of history's greatest mentors. Based on new archival material and exclusive interviews, The Last Man Who Knew Everything lays bare the enigmatic life of a colossus of twentieth century physics.

It was at the height of the Cold War, in the summer of 1950, when Bruno Pontecorvo mysteriously vanished behind the Iron Curtain. Who was he, and what caused him to disappear? Was he simply a physicist, or also a spy and communist radical? A protégé of Enrico Fermi, Pontecorvo was one of the most promising nuclear physicists in the world. He spent years hunting for the Higgs boson of his day,the neutrino,a nearly massless particle thought to be essential to the process of particle decay. His work on the Manhattan Project helped to usher in the nuclear age, and confirmed his reputation as a brilliant physicist. Why, then, would he disappear as he stood on the cusp of true greatness, perhaps even the Nobel Prize?In Half-Life , physicist and historian Frank Close offers a heretofore untold history of Pontecorvo's life, based on unprecedented access to Pontecorvo's friends and family and the Russian scientists with whom he would later work. Close takes a microscope to Pontecorvo's life, combining a thorough biography of one of the most important scientsts of the twentieth century with the drama of Cold War espionage. With all the elements of a Cold War thriller,classified atomic research, an infamous double agent, a possible kidnapping by Soviet operatives, Half-Life is a history of nuclear physics at perhaps its most powerful: when it created the bomb.physics at perhaps its most powerful: when it created the bomb.

n her award-winning, critically acclaimed Women's Writing in Italy, 1400-1650, Virginia Cox chronicles the history of women writers in early modern Italy--who they were, what they wrote, where they fit in society, and how their status changed during this period. In this book, Cox examines more closely one particular moment in this history, in many ways the most remarkable for the richness and range of women's literary output. A widespread critical notion sees Italian women's writing as a phenomenon specific to the peculiar literary environment of the mid-sixteenth century, and most scholars assume that a reactionary movement such as the Counter-Reformation was unlikely to spur its development. Cox argues otherwise, showing that women's writing flourished in the period following 1560, reaching beyond the customary "feminine" genres of lyric, poetry, and letters to experiment with pastoral drama, chivalric romance, tragedy, and epic. There were few widely practiced genres in this eclectic phase of Italian literature to which women did not turn their hand. Organized by genre, and including translations of all excerpts from primary texts, this comprehensive and engaging volume provides students and scholars with an invaluable resource as interest in these exceptional writers grows. In addition to familiar, secular works by authors such as Isabella Andreini, Moderata Fonte, and Lucrezia Marinella, Cox also discusses important writings that have largely escaped critical interest, including Fonte's and Marinella's vivid religious narratives, an unfinished Amazonian epic by Maddalena Salvetti, and the startlingly fresh autobiographical lyrics of Francesca Turina Bufalini. Juxtaposing religious and secular writings by women and tracing their relationship to the male-authored literature of the period, often surprisingly affirmative in its attitudes toward women, Cox reveals a new and provocative vision of the Italian Counter-Reformation as a period far less uniformly repressive of women than is commonly assumed.