National Art Education Association

History of Italian Renaissance Art by Frederick HarttReview by: James F. WarwickArt Education, Vol. 23, No. 4 (Apr., 1970), p. 36Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3191460 .

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HISTORY OF ITALIAN RENAISSANCE ART. Frederick Hartt. New York: Harry N. Abrams, Inc., 1969. 636 pp. $25.00

This is an enormously impressive book. Without a doubt it is the most comprehen- sive, detailed, profusely illustrated, and well written single volume on the history of Italian Renaissance art. It is the only volume of this caliber that treats in con- cert three major facets of Italian Renais- sance art: painting, sculpture, and archi- tecture.

These areas have, of course, been ad- dressed in other publications, but either treated as isolated artistic phenomena or, when found in tandem, covered in a frus- tratingly superficial manner. In this vol- ume the painting, sculpture, and architec- ture of the period are given in consider- able depth, and, in an important addition, their relationships and respective influ- ences are sagely noted. Further, these are placed within the social, economic, re- ligious, and political context of the time.

The book is divided into three major

parts: I Late Middle Ages, II Quattrocen- to, and III Cinquecento, and these in turn divided into 20 sections. With glossary, a chronological chart, suggestions for fur- ther reading, and more than 800 plates in 636 pages, this makes a hefty book. It is a massive volume-most assuredly not a pocket digest.

But one's first impression-withal the implication of "heavy tome"-gives way quickly to a host of more salient evalua- tions. High in this priority must be the ease with which the book is read. Profes- sor Hartt's style is sensitive but cerebral, direct but detailed, lucid and learned. For example: "The existence of Venice is one of the miracles of history"; and another: "The irresponsibility of Fillippo's life cor- responds, in a sense, to the undisciplined quality of his style." These examples are typical of the directness and succinctness of the text. Missing is the convoluted syn- tax of academania found in many scholarly publications, the pretentious persiflage which seems to be a compulsive trait of many writers in the visual arts.

Professor Hartt, in spite of his impres- sive credentials as a scholar, is a tempered authority who acknowledges that he holds some scholarly bias and notes that he has "presented tentative ideas, labeled as such . . " That is probably an unnecessary admission, but it shows the respect in which he holds his subject, and a profes- sional diffidence that is in charming con- trast to most authorities.

Professor Hartt has this reviewer's ap- preciation and admiration for producing a scholarly and handsome book. The pub- lisher, Harry N. Abrams, Inc., is also to be congratulated for undertaking what was obviously an expensive and technically de- manding venture and completing it with skill and sensitivity. This book is in keep- ing with the publisher's wide and deserved reputation for quality art publications.

This book is a "must" reference for stu- dents and scholars in the field, and a "must" purchase for college and high school art departments. James F. Warwick Port Washington, New York

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