Description
Book SynopsisStudies the impact of the discovery of the Americas on Italian Renaissance art and culture, focusing on the Medici engagement with the New World and its effects on collecting and art production in Florence during the sixteenth and early seventeenth centuries.
Trade Review“Lucidly written and beautifully illustrated. . . . Just as Medicean artists and their patrons cast their city as heir to the legacy of ancient Rome, Markey shows the myriad ways in which they were able to reimagine Florence as the discoverer and the master of the New World through the power of representation.”
—Louis Alexander Waldman Renaissance Quarterly
“An important resource for scholars of art history, material culture, print culture, and transatlantic studies.”
—Lauren Beck SHARP News
“The book’s scholarly apparatus and color illustrations make it a valuable resource. . . . Highly recommended.”
—D. N. Dow Choice
“Lia Markey’s Imagining the Americas in Medici Florence represents the best in Renaissance global studies. If the art of Florence enjoys canonical status, the Medici collection of artifacts and images of the New World has been more peripheral, the subject of pioneering but outdated studies by Detlef Heikamp and Hugh Honour. Revising the work of these predecessors, Markey shows how collectors and artists alike drew inspiration from a flood of new knowledge produced in the wake of discovery and colonization.”
—Cristelle Baskins,coauthor of The Triumph of Marriage: Painted Cassoni of the Renaissance
“The Medici participated in the New World discoveries secondhand, by avidly collecting artifacts and turning these materials into images. Rather than telling the story of the discoveries, Lia Markey’s lively book tells us a story about world-making—how new information traveled and was shaped by artists, patrons, and scholars into theaters of the imagination.”
—Alexander Nagel,author of The Controversy of Renaissance Art
“Lia Markey’s book is pathbreaking. For too long Italian Renaissance art-history studies have been introspective and provincial. The author insists upon what Shakespeare already knew: that the Mediterranean world had opened to new places and people. Her study reveals that the Medici of Florence not only received images from and about the New World but also incorporated these distant forms and iconographies into their own visual vocabulary. Markey demonstrates that Italian artists worked not to exoticize but to familiarize the new and, in doing so, engaged with America in complex and contradictory ways.”
—Thomas B. F. Cummins,author of Toasts with the Inca: Andean Abstraction and Colonial Images on Quero Vessels
“Lia Markey’s new book will prove a further important resource and corrective for scholarship as it forms a bridge between traditional Italo-centric studies of the Renaissance and those of the New World, the like of which has not been attempted since Hugh Honour’s book, European Images of America (1975). Markey’s work should also be of particular interest to readers of this journal since it is one of the first books to address in detail the collecting and display of works from the Americas in an Italian context, specifically that of Florence.”
—Journal of the History of Collections
Table of ContentsContents
List of Illustrations
Acknowledgments
Introduction
1 The New World and Italy in the Early Sixteenth Century
2 A Turkey in a Medici Tapestry
3 The Americas in the Guardaroba Nuova
4 Francesco’s Exchange and Documentation of American Nature
5 The Stanzino and the Representation of the New World
6 Between Ethnography and Fantasy in Ferdinando’s New World
7 The Florentine Codex and Buti’s Frescoes of Amerindians
8 Stradano’s Invention of the Americas
9 The Americas Both Real and Imagined
Conclusion: Vicarious Conquest
Notes
Bibliography
Index
