От Рафаэля до Кавалера д’Арпино. Устройство римских живописных мастерских XVI века

Список литературы

Алпатов М. В. Художник и заказчик // Алпатов М. В. Этюды по истории западноевропейского искусства. М., Л.: Искусство, 1939. С. 218–224.

Баткин Л. М. Европейский человек наедине с собой: Очерки о культурно-исторических основаниях и пределах личного самосознания. М.: РГГУ, 2000.

Бернсон Б. Живописцы итальянского Возрождения. М.: Искусство, 1965.

Борио Ж. И. История Рима. Метаморфозы Вечного города. М.: Евразия, 2013.

Брагина Л. Д. Итальянский гуманизм эпохи Возрождения. Идеалы и практика культуры. М.: Изд‑во МГУ, 2002.

Буркгардт Я. Культура Италии в эпоху Возрождения. Смоленск: Русич, 2003.

Вельфлин Г. Классическое искусство: Введение в изучение итальянского Возрождения. СПб.: Алетейя, 1999.

Головин В. П. «Tutto di suo mano»: Оценка мастерства в контрактах художников XV века // Вопросы искусствознания. 1993. № 2–3. С. 172–178.

Головин В. П. Средневековая традиция в практике ренессансных художественных мастерских Италии // Культура Возрождения и Средние века. М.: Наука, 1993. С. 148–155.

Головин В. П. Мир художника раннего итальянского Возрождения. М.: Новое литературное обозрение, 2002.

Головин В. П. Социальная история искусства итальянского Возрождения // Итальянский сборник. Вып. 4 / Отв. ред. И. И. Тучков, Е. Д. Федотова. М.: Памятники исторической мысли, 2005. С. 27–40.

Гращенков В. Н. Рисунок мастеров итальянского Возрождения: Очерки истории, теории и практики. М.: Искусство, 1963.

Гращенков В. Н. Рафаэль. М.: Искусство, 1971.

Гращенков В. Н. Портретное искусство раннего итальянского Возрождения: опыт социологической характеристики // Культура Возрождения и общество. М.: Наука, 1986. С. 53–63.

Гращенков В. Н. «Суждение глаза» в теории и практике искусства итальянского Возрождения // Советское искусствознание. Вып. 24. 1988. С. 97–125.

Грегоровиус Ф. История города Рима в Средние века (от V до XVI столетия). М.: Альфа-книга, 2008.

Дажина В. Д. Римское окружение Рафаэля // Рафаэль и его время. М.: Наука, 1986. С. 224–237.

Дажина В. Д. Социальные корни итальянского маньеризма // Культура Возрождения и общество. М.: Наука, 1986. С. 145–152.

Дажина В. Д. L’Accademia delle Arti del Disegno: новый феномен в художественной жизни Флоренции конца Возрождения // Искусство Италии XVI–XVII веков. М.: НИИ истории и теории изобразительных искусств, 1997. С. 37–72.

Дажина В. Д. Личность художника конца Возрождения: автопортрет, автобиография, дневник // Человек в культуре Возрождения. М.: Наука, 2001. С. 153–161.

Дажина В. Д. Флорентинская Академия рисунка: история, теория, художественная практика. От маньеризма к академизму // Искусствознание. 1998. № 1/98. С. 182–204.

Дворжак М. История итальянского искусства в эпоху Возрождения [1927–1928]: В 2 т. М.: Искусство, 1978.

Девятайкина Н. И. Учитель, школа, ученик в пространстве раннего Ренессанса (по письмам и диалогам Петрарки) // Италия и Европа: Сб. памяти В. И. Рутенбурга. СПб.: Нестор-История, 2014. С. 78–96.

Дунина М. В. «Вознесение Девы Марии» Пьетро Перуджино из алтарной композиции для церкви Сантиссима-Аннунциата во Флоренции: метод работы мастерской и репутация живописца // Актуальные проблемы теории и истории искусства: Сб. науч. статей. Т. 7. СПб.: Изд‑во СПбГУ, 2017. С. 522–531.

Дунина М. В. Специализация в римской мастерской Рафаэля. Распределение задач и объединение талантов // Искусствознание: журнал по истории и теории искусства. 2018. № 3. С. 50–57.

Дунина М. В. Временные объединения художников и живописные мастерские в Риме второй половины XVI столетия // Клио. 2019. № 6 (150). С. 105–109.

Дунина М. В. Микеланджело-воспитатель: особенности творческой индивидуальности и система преподавания // Актуальные проблемы теории и истории искусства: Сб. науч. статей. Т. 9. СПб.: Изд‑во СПбГУ, 2019. С. 634–643.

Дунина М. В. Теория обучения в римских художественных мастерских XVI века // Декоративное искусство и предметно-пространственная среда. Вестник МГХПА. 2019. № 2. С. 76–85.

Дунина М. В. Римские живописные мастерские эпохи Ренессанса и гуманистическое воспитание // Вестник Московского университета. Серия 8: История. 2020. № 6. C. 181–191.

Дунина М. В. Подражание древним и самоценность новизны в работе римских художественных мастерских XVI века // ACADEMIA. 2020. № 4. С. 479–487.

Дунина М. В. Римская мастерская Джироламо Муциано: на стыке коллективного и индивидуального творчества // Вестник РГГУ. Серия: Литературоведение. Языкознание. Культурология. 2021. № 6. С. 115–126.

Дунина М. В. Мастер и мастерская в художественной жизни Рима XVI столетия: Дис. … канд. искусствоведения. М., 2021.

Краснова Н. Б. Палатинские фрески школы Рафаэля в Эрмитаже. Л.: Изд‑во Гос. Эрмитажа, 1961.

Краутхаймер Р. Три христианские столицы. Топография и политика. СПб.: Алетейя, 2000.

Кудрявцев О. Ф. Педагогические наставления гуманиста Якопо Садолето // Гуманистическая мысль, школа и педагогика эпохи средневековья и начала Нового времени. М.: Изд‑во АПН, 1990. С. 86–102.

Назарова О. А. Мастер и мастерская от пятнадцатого века к шестнадцатому // Западная Европа. XVI век: цивилизация, культура, искусство. М.: Либроком/URSS, 2009. С. 184–209.

Панофский Э. Idea. К истории понятия в теориях искусства от Античности до классицизма. [1960] М.: Андрей Наследников, 2002.

Панофский Э. Ренессанс и «ренессансы» в искусстве Запада [1960] / Пер. А. Г. Габричевского под ред. В. Д. Дажиной. М.: Искусство, 1998.

Панофский Э. История искусства как гуманистическая дисциплина // Панофский Э. Смысл и толкование изобразительного искусства. Статьи по истории искусства. СПб.: Академический проект, 1999. С. 422–445.

Петров М. Т. Итальянская интеллигенция в эпоху Ренессанса. Л.: Наука, 1982.

Ревякина Н. В. Некоторые вопросы формирования личности в итальянской гуманистической педагогике // Культура Возрождения и общество. М.: Наука, 1986. С. 30–38.

Ревякина Н. В. Гуманистическое воспитание в Италии XIV–XV вв. Иваново: Ивановский гос. ун-т, 1993.

Ревякина Н. В. Итальянский гуманист и педагог Витторино да Фельтре в свидетельствах учеников и современников. М.: РОССПЭН, 2007.

Ревякина Н. В., Девятайкина Н. И. От Средневековья к «Радостному дому»: школы, ученики, учителя итальянского Возрождения (XIV–XV вв.) М.: РОССПЭН, 2020.

Тучков И. И. Виллы Рима как образная система: иконология и риторика: Дис. … докт. искусствоведения. М., 2008.

Фридлендер М. Знаток искусства. [1919] М.: Дельфин, 1923.

Фридлендер М. Об искусстве и знаточестве. [1946] СПб.: Андрей Наследников, 2013.

Харитонович Д. Э. К проблеме восприятия гуманистической культуры в итальянском обществе XVI в. // Культура Возрождения и общество. М.: Наука, 1986. C. 153–161.

Хьюз Р. Рим. История города: его культура, облик, люди. М.: Corpus, 2014.

Abromson M. C. Painting in Rome during the Papacy of Clement VIII. A Documented Study. New York: Garland, 1981.

Acidini Luchinat C. Taddeo e Federico Zuccari. Fratelli pittori del Cinquecento. Milano: Jandi Sapi, 1998. — 2 vols.

Ackerman J. The Planning of Renaissance Rome // Rome in the Renaissance: The City and the Myth. Papers of the Thirteenth Annual Conference of the Center for Medieval and Early Renaissance Studies / Ed. P. A. Ramsey. New York: Binghamton, 1982. P. 3–17.

Alberti A., Rovetta A., Salsi C. D’après Michelangelo. La fortuna dei disegni per gli amici nelle arti del cinquecento. Venezia: Marsilio, 2015.

Alessandro L. D’, Seccaroni C. Le composizioni devozionali del tardo Michelangelo attraverso la lettura critica dei dati tecnici // Michelangelo a colori. Marcello Venusti, Lelio Orsi, Marco Pino, Jacopino del Conte. Roma: De Luca, 2019. P. 59–62.

Ambrosini Massari A., Cellini M. Nel segno di Barocci. Allievi e seguaci tra Marche, Umbria, Siena. Milano: Federico Motta, 2005.

Ames-Lewis F. Drapery «Pattern»-Drawings in Ghirlandaio’s Workshop and Ghirlandaio’s Early Apprenticeship // The Art Bulletin. 1981. Vol. 63. № 1. P. 49–62.

Ames-Lewis F., Wright J. Drawing in the Italian Renaissance Workshop. London: Victoria & Albert Museum, 1983.

Ames-Lewis F. The Draftsman Raphael. New Haven: Yale University Press, 1986.

Ames-Lewis F. The Renaissance Draughtsman and his Models // Drawing: Masters and Methods. Raphael to Redon / Ed. D. Dethloff, M. Stevens. London: H. N. Abrams, 1992. P. 1–6.

Ames-Lewis F. The Intellectual Life of the Early Renaissance Artist. New Haven: Yale University Press, 2000.

Ames-Lewis F., Joannides P. Reactions to the Master: Michelangelo’s Effect on Art and Artists in the Sixteenth Century. London: Routledge, 2003.

Art in the Ma: Underdrawings in Renaissance Paintings / Ed. D. Bomford. London: National Gallery Publications, 2002.

Aspetti dell’arte a Roma prima e dopo Raffaello. Roma: De Luca, 1984.

Aurigemma M. G. Lettere di Federico Zuccari // Rivista dell’Istituto Nazionale di Archeologia e Storia dell’arte. 1996. № 18. P. 207–246.

Autour de Raphael: dessins et peintures du Musée du Louvre / Ed. R. Bacou. Paris: Musée du Louvre, 1984.

Aymonino A. Nature Perfected: The Theory and Practice of Drawing after the Antique // Drawn from the Antique. Artists and the Classical Ideal. London: Sir John Soane’s Museum, 2015. P. 15–78.

Baker-Bates P. Workshop and Showroom in High Renaissance Rome: The Idiosyncratic Model of Sebastiano del Piombo // Bulletin of the Society for Renaissance Studies. 2005. № 23. P. 1–6.

Bambach C. C. Drawing and Painting in the Italian Renaissance Workshop. Theory and Practice, 1300–1600. Cambridge: Cambridge University Press, 1999.

Barbieri C. The Competition between Raphael and Michelangelo and Sebastiano’s Role in It // The Cambridge Companion to Raphael / Ed. M. Hall. Cambridge: Cambridge University Press, 2005. P. 141–164.

Barbieri C., Joannides P., Wivel M. Michelangelo & Sebastiano. Ex. cat. London: National Gallery Company Ltd, 2017.

Barilli R. Maniera moderna e manierismo. Milano: Feltrinelli, 2004.

Barolsky P. Michelangelo’s Nose: A Myth and its Maker. University Park, PA: Penn State Press, 1990.

Baroni A. A New Drawing by Vasari for the Sala dei Cento Giorni in the Palazzo della Cancelleria // Master Drawings. 2012. Vol. 50. № 4. P. 495–506.

Barzman K. The Florentine Accademia del Disegno: Liberal Education and the Renaissance Artist // Academies of Art between Renaissance and Romanticism / Ed. A. W. A. Boschloo. Leiden: SDU Uitgevereij, 1989. P. 14–32.

Barzman K. The Florentine Academy and Early Modern State: The Discipline of Disegno. Cambridge: Cambridge University Press, 2000.

Bauer L. F. A Leter by Barocci and the Tracing of Finished Paintings // The Burlington Magazine. 1986. № 128. P. 355–357.

Baumgart F. Beiträge zu Raffael und seiner Werkstatt // Münchner Jahrbuch der bildenden Kunst. N. F. 1931. № 8. S. 49–68.

Baxandall M. Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition. Oxford: Oxford University Press, 1971.

Bayer T. M. The Artist as Patron: An Examination of the Supervisory and Patronal Activities of Giuseppe Cesari, the Cavaliere D’Arpino // Athanor. 1990. № 89. P. 17–23.

Berenson B. The Drawings of the Florentine Painters. Chicago: The University of Chicago Press, 1938. — 3 vols.

Berenson B. The Central Italian Painters of the Renaissance with an Index to their Works. New York: G. P. Putnam’s Sons, 1897.

Berenson B. The Italian Painters of the Renaissance. New York: Meridian Books, 1957.

Black R. Italian Renaissance Education: Changing Perspectives and Continuing Controversies // Journal of the History of Ideas. 1991. Vol. 52. № 2. P. 315–334.

Blunt A. Artistic Theory in Italy, 1450–1600. Oxford: The Clarendon press, 1940.

Bode W. Italienische Bildhauer der Renaissance. Studien zur Geschichteder Italienischen Plastik und Malerei auf Grund der Bildwerke und Gamalde in den konige Museen zu Berlin. Berlin: Spemann, 1887.

Brink P. van den. The Art of Copying. Copying and Serial Production of Paintings in the Low Countries in the Sixteenth and Seventeenth Centuries // Brueghel Enterprises. Amsterdam, Ghent: Ludion, 2001. P. 12–43.

Brooks J. Copying in Rome in the Sixteenth Century // Taddeo and Federico Zuccaro. Artist-brothers in Renaissance Rome / Ed. J. Brooks. Los Angeles: The Paul Getty Museum, 2007. P. 70–94.

Brooks J. Florentine Artists and «Disegno» in Late Cinquecento Rome // The Accademia Seminars: The Accademia di San Luca in Rome, ca. 1590–1635 / Ed. P. M. Lukehart. New Haven: Yale University Press, 2009. P. 225–245.

Brooks J., Allen D., Salomon X. F. Andrea del Sarto: The Renaissance Workshop in Action. Los Angeles: Getty Publications, 2015.

Brown D. A. Raphael, Leonardo and Perugino: Fame and Fortune in Florence // Leonardo, Michelangelo and Raphael in Renaissance Florence from 1500 to 1508 / Ed. S. Hager. Washington D. C.: Georgetown University Press, 1992. P. 29–53.

Brunetto G., Seccaroni C., Sgamellotti A. The Painting Technique of Pietro di Vannucci, called il Perugino. Proceedings of the LabS Tech. Firenze: Nardini, 2004.

Burckhardt J. Der Cicerone: Eine Anleitung zum Genuss der Kunstwerke Italiens. Basel: Schweighauser, 1855.

Burke J. The One about Michelangelo and the Onions: Jokes and Cultural Anxiety in the Early Sixteenth Century // Studies on Florence and the Italian Renaissance in Honour of F. W. Kent / Eds. C. Hewlett, P. Howard. Turnhout: Brepols, 2016. P. 495–516.

Burke P. Culture and Society in Renaissance Italy, 1420–1540. London: Batsford, 1972.

Cadogan J. K. Michelangelo in the Workshop of Domenico Ghirlandaio // The Burlington Magazine. 1993. Vol. 135. № 1078. P. 30–31.

Camiz F. T. The Roman ’Studio’ of Francesco Villamena // The Burlington Magazine. 1994. Vol. 136. № 1097. P. 506–516.

Canedy N. W. The Roman Sketchbook of Girolamo Da Carpi. London: The Warburg Institute, Leiden: E. J. Brill, 1976.

Carminati M. Cesare da Sesto. 1477–1523. Milano-Roma: Jandi Sapi, 1994.

Carpo M. Ancora su Serlio e Delminio. La teoria architettonica, il metodo e la riforma dell’imitazione // Sebastiano Serlio. Milano: Electa, 1989. P. 111–114.

Casamassima E. Antiquarian Drawings from Dosio’s Roman Workshop: Bibliotheca Nazionale Centrale di Firenze, N. A. 1159. Milano: Editrice Bibliografica, 1993.

Cassanelli R. Artisti in bottega: luoghi e prassi dell’arte alle soglie della modernità // La bottega dell’artista tra Medioevo e Rinascimento. Milano: Jaca Book, 1998. P. 7–29.

Cavazzini P. Painting as Business in Early Seventeenth-century Rome. University Park: Pennsylvania State University Press, 2008.

Cavazzini P. Pittori eletti e «bottegari» nei primi anni dell’Accademia e Compagnia di San Luca // Rivista d’arte. 2011. Vol. 1. P. 79–96.

Cerasuolo A. Literature and Artistic Practice in Sixteenth-Century Italy. Leiden: E. J. Brill, 2017.

Chambers D. S. Patrons and Artists in the Italian Renaissance. London: Macmillan, 1970.

Chapman H. Michelangelo Drawings: Closer to the Master. London: British museum, 2005.

Chapman H., Henry T., Plazzotta C. Raphael: from Urbino to Rome. London: National Gallery Publications, 2004.

Chastel A. Art et humanisme a Florence au temps du Laurent le Magnifique. Etudes sur le Renaissance et humanisme platonicien. Paris: Presses Universitaires de France, 1959.

Chastel A. The Studios and Styles of the Renaissance Italy. 1460–1500. London: Thames & Hudson, 1966.

Chastel A. Marsile Ficin et l’art. Geneve: Droz, 1975.

Chastel A. Sack of Rome, 1527. Princeton, London: Princeton University Press, 1977.

Christian K. W. Empire without End: Antiquities Collections in Renaissance Rome, ca. 1350–1527. New Haven: Yale University Press, 2010.

Cieri Via C. Polidoro da Caravaggio e Perin del Vaga a Roma: una competizione sull’antico fra invenzione, copia e variazione // Monumenta Documenta. 2012. № 1. P. 63–74.

Cirillo M. C. Giulio Bonasone and Sixteen Century Italian Printmaking: Ph.D. thesis. The University of Wisconsin-Madison, 1978.

Clayton M. Raphael and his Circle: Drawings from Windsor Castle. London: Merrell Holberton, 1999.

Coffin D. R. The Villa in the Life of Renaissance Rome. Princeton: Princeton University Press, 1979.

Coffin D. R. Gardens and Gardening in Papal Rome. Princeton: Princeton University Press, 1991.

Cole B. The Renaissance Artist at Work: from Pisano to Titian. New York: Harper & Row, 1983.

Coliva A. Francesco Salviati. Affreschi romani. Milano: Electa, 1998.

Collaboration in Italian Renaissance Art / Eds. W. S. Sheard, J. T. Paoletti. New Haven: Yale University Press, 1978.

Cooper D. Raphael’s Altarpieces in S. Francesco al Prato, Perugia: Patronage, Setting and Function // The Burlington Magazine. 2001. № 142. P. 554–561.

Cornini G. The Master and the Workshop. The Frescoes in the Sala di Costantino in the Light of the Recent Restoration // Raphael 1520–1483. Milano: Skira editore S.p.A., 2020. P. 269–282.

Corso M. In virtù dell’antico. La Compagnia dei Virtuosi del Pantheon nel Cinquecento // Intrecci virtuosi. Lerrerati, artisti e accademie tra Cinque e Seicento. Roma: De Luca Editori D’Arte, 2017. P. 111–123.

Corso M., Geremicca A. Perino’s Model for the Spalliera of Michelangelo’s Last Judgement // Perino del Vaga for Michelangelo. The Spalliera of the Last Judgement on the Galleria Spada. With documents on Perino’s Life and Work from 1937 to 1547 // Ed. B. Agosti, S. Ginzburg. Rome: Officina Libraria, 2021. P. 38–55.

Cox-Rearick J. Giulio Romano: Master Designer. New York: Hunter College, 1999.

Cranston J. Tropes of Revelation in Raphael’s Transfiguration // Renaissance Quarterly. Chicago: The University of Chicago Press, 2003. V. 56, № 1. P. 1–25.

Culotta A. Two Artists, Two Rooms, and the Development of Co-opetition at the Villa Farnesina // The International Journal of the Image. 2014. № 4 (4). P. 9–23.

Curti F. Sugli esordi di Caravaggio a Roma: la bottega di Lorenzo Carli e il suo inventario // Caravaggio a Roma: una vita dal vero. Roma: De Luca, 2011. P. 65–76.

Custoza G. C. Giovanni da Udine: la tecnica della decorazione a stucco alla romana nel Friuli del XVI secolo. Pasian di Prato: Campanotto, 1996.

Dacos N. La Decouverte de la Domus Aurea et la Formation des Grotesques a la Renaissance. London: The Warburg Institute, 1969.

Dacos N. Le Logge di Raffaello: maestro e bottega di fronte all’antico. Roma: Istituto poligrafico e Zecca dello Stato, 1986.

Dacos N. Peruzzi dalla Farnesina alla Cancelleria: qualche proposta sulla bottega del pittore // Baldassarre Peruzzi. Pittura, Scena, Architettura nel Cinquecento. Roma: Istituto della Enciclopedia italiana, 1987. P. 469–490.

Dacos N. Raffael im Vatikan. Die päpstlichen Loggien neu entdeckt. Stuttgart: Belser, 2008.

Dacos N. Viaggio a Roma. I pittori europei nel’500. Milano: Jaca Book, 2012.

D’Amico J. F. Renaissance Humanism in the Papal Rome: Humanists and Churchmen on the Eve of the Reformation. Baltimore, London: Johns Hopkins University Press, 1983.

Dauner G. Drawn Together: Two Albums of Renaissance Drawings by Girolamo da Carpi. Philadelphia: Rosenbach Museum & Library, 2005.

Davidson B. F. Early Drawings by Perino del Vaga. Part II // Master Drawings. Vol. 1. № 4. 1963. P. 19–26.

Davidson B. F. Daniele da Volterra and the Orsini Chapel — II // The Burlington Magazine. 1967. Vol. 109. № 775. P. 552–559.

Davidson B. F. The Decoration of the Sala Regia under Pope Paul III // The Art Bulletin. 1976. Vol. 58. № 3. P. 395–423.

Davidson B. F. Mostra di disegni di Perino del Vaga e la sua cerchia. Firenze: L. S. Olschki, 1986.

Debendetti A. The Making of the Cartoons: Raphael and His Workshop // The Raphael Cartoons. London: VA Publishing, 2020. P. 26–45.

Delumeau J. Vie économique et sociale de Rome dans la seconde moitié du XVI^e siècle. Paris: De Boccard, 1957.

Delumeau J. La seconde gloire de Rome. XV–XVI^e siècle. Paris: Perin, 2013.

Delumeau J., Roche D. Histoire des pères et de la paternité. Paris: Larousse, 1990.

Dollmayr H. Raffaels Werkstätte // Jahrbuch der kunsthistorischen. Sammlungen des Allerhöchsten Kaiserhauses. 1895. № 16. S. 231–363.

Eastlake Ch. L. Materials for a History of Oil Painting. London: Longman, Brown, Green and Longmans, 1847.

Eitel-Porter R. Artistic Co-Operation in Late Sixteenth-Century Rome: The Sistine Chapel in S. Maria Maggiore and the Scala Santa // The Burlington Magazine. 1997. Vol. 139. № 1132. P. 452–462.

Elet Y. Architectural Invention in Renaissance Rome: Artists, Humanists, and the Planning of Raphael’s Villa Madama. Cambridge: Cambridge University Press, 2018.

Emison P. Raphael’s Multiples // The Cambridge Companion to Raphael / Ed. M. Hall. Cambridge: Cambridge University Press, 2005. P. 186–206.

Esch A. Economia, cultura mareliale ed arte nella Roma del Rinascimento. Roma: Roma nel Rinascimento, 2007.

Ettlinger L. D. The Sistine Chapel before Michelangelo. Religious Imagery and Papal Primacy. Oxford: Oxford University Press, 1965.

Ettlinger L. D. Antonio and Pietro Pollaiolo. Oxford: Phaidon, 1978.

Even Y. Artistic Collaboration in Florentine Workshops: Quattrocento: Ph.D. thesis. Columbia University, 1984.

Fahy E. Michelangelo and Domenico Ghirlandaio // Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss / Eds. I. Lavin, J. Plummer. New York: New York University Press, 1977. P. 152–156.

Falcioni A. Documenti urbinati sulla famiglia Santi // Raffaello e Urbino: la formazione giovanile e i rapporti con la città natale. Milano: Electa, 2009. P. 268–284.

Ferino-Pagden S. Disegni Umbri del Rinascimento da Perugino a Raffaello. Firenze: L. S. Olschki, 1982.

Ferino-Pagden S. Gallerie dell’Accademia di Venezia. Catalogo dei disegni antichi. Disegni umbri. Milano: Electa, 1984.

Ferino-Pagden S. The Early Raphael and His Umbrian Contemporaries // Raphael before Rome. Studies in the History of Art / Ed. J. Beck. Washington D. C.: National Gallery of Art, 1986. P. 93–107.

Ferino-Pagden S. Giulio Romano pittore e disegnatore a Roma // Giulio Romano. Milano: Electa, 1989. P. 65–96.

Fischel O. Raphael’s Auxiliary Cartoons // The Burlington Magazine. 1937. № 71. P. 167–168.

Flick G. R. Masters and Pupils: The Artistic Succession from Perugino to Manet. 1480–1880. London: Hogarth Arts, 2008.

Fracchia C. Gaspar Becerra: a Spaniard in the Workshop of Daniele da Volterra // The Sculpture Journal. 1999. № 3. P. 6–13.

Freedberg S. J. Painting in Italy. 1500–1600. Harmondsworth: Penguin Books, 1970.

Freedberg S. J. A Fugue of Styles: Roman Drawings of the Sixteenth Century // The Art Institute of Chicago Centennial Lectures. Chicago: The Art Institute of Chicago. 1983. Vol. 10. P. 58–77.

Friedländer W. Die Entstehung des antiklassischen Stils in der italienischen Malerei um 1520 // Repertorium für Kunstwissenschaft. 1925. № 46. S. 49–86.

Friedländer W. Mannerism and Anti-mannerism in Italian Painting. [1957] New York: Columbia University Press, 1990.

Friedländer W. Caravaggio Studies. New York: Schocken Books, 1969.

From Raphael to Carracci: The Art of Papal Rome / Ed. D. Franklin. Ottawa: National Gallery of Canada, 2009.

Frommel Ch. L. Baldassare Peruzzi als Maler und Zeichner. Wien: A. Schroll, 1967–1968.

Frommel Ch. L. I tre progetti bramanteschi per il Cortile del Belvedere // Il Cortile delle Statue. Der Statuenhof des Belvedere im Vatikan. Mainz: Von Zabern, 1998. P. 49–53.

Frommel Ch. L. Michelangelos Handschrift und die Chronologie seiner frühen Zeichnungen // Michelangelo als Zeichner. Akten des Internationalen Kolloquiums / Eds. C. Echinger-Maurach, A. Gnann, J. Poeschke. Münster: Rhema, 2013. S. 117–144.

Fučíková E. Giulio Romano and his Workshop: Designs for Artisans / Eds. Drawings Defined. W. L. Strauss, T. Felker. New York: Abaris Books, 1987. P. 217–228.

Gabrielli E. O. La «florentina methodus»: pratica e pratiche di bottega a Roma nel XV secolo // Il ’400 a Roma. La rinascita delle arti da Donatello a Perugino. Milano: Skira, 2008. P. 63–69.

Gage F. Giulio Mancini and Artist-Amateur Relations in Seventeenth-Century Roman Academies // The Accademia Seminars: The Accademia di San Luca in Rome, ca. 1590–1635 / Ed. P. M. Lukehart. New Haven: Yale University Press, 2009. P. 247–287.

Garin E. Guarino Veronese e la cultura a Ferrara // Ritratti di umanisti. Firenze: Sansoni, 1967. P. 69–106.

Gasparri C. Rome Restored: villas, collections, and gardens of antiquities in sixteenth-century Rome // From Raphael to Carracci: The Art of Papal Rome / Ed. D. Franklin. Ottawa: National Gallery of Canada, 2009. P. 39–51.

Gaudioso A., Filippa M. Gli affreschi di Paolo III a Castel Sant’ Angelo 1543–1548. Progetto ed esecuzione. Roma: De Luca Editore, 1981. — 2 vols.

George R. Organisation et mise en place de l’atelier de l’Accademia di San Luca de Rome au primo Seicento // Studiolo. 2016. № 13. P. 146–165.

Gere J. A. Girolamo Muziano and Taddeo Zuccaro: A note on an Early Work by Muziano // The Burlington Magazine. 1966. Vol. 108. № 761. P. 417–419.

Gere J. A. Taddeo Zuccaro. His Development Studied in his Drawings. Chicago: Faber, 1969.

Gere J. A. I disegni dei maestri: Il manierismo a Roma. Milano: Fabbri, 1971.

Gere J. A. Drawings by Raphael and his Circle. New York: Pierpont Morgan Library. 1987.

Gere J. A., Pouncey Ph. Italian Drawings in the British Museum: Raphael and his Circle. London: The British Museum, 1962. — 2 vols.

Gere J. A., Pouncey Ph. Italian Drawings in the Department of Prints and Drawings at the British Museum: Artists Working in Rome c. 1550 to c. 1640. London: British Museum Publications, 1983. — 2 vols.

Gentilucci А. Il Gran Palazzo Farnese di Caprarola. Viterbo: Tipografia Spada, 2003.

Giulio Romano a Mantova. Con nuova e stravagante maniera. Milano: Skira, 2019.

Giulio Romano. Milano: Electa, 1989.

Glasser H. Artists’ Contracts of the Early Renaissance. New York: Garland, 1977.

Gnoli U. Pietro Perugino. Spoleto: Claudio Argentieri Edizioni d’Arte, 1923.

Godfrey D. Review of Michelangelo als Zeichner. Akten des Internationalen Kolloquiums / Eds. C. Echinger-Maurach, A. Gnann, J. Poeschke. Münster: Rhema, 2013; The Burlington Magazine. 2014. Vol. 156. № 1338. P. 603–604.

Goffen R. Renaissance Rivals: Michelangelo, Leonardo, Raphael and Titian. New Haven; London: Yale University Press, 2002.

Goldstein C. Visual Fact over Verbal Fiction: A Study of the Carracci and the Criticism, Theory, and Practice of Art in Renaissance and Baroque Italy. Cambridge: Cambridge University Press, 1988.

Goldstein C. Teaching Art. Academies and Schools from Vasari to Albers. Cambridge: Cambridge University Press, 1996.

Goldthwaite R. The Economy of Renaissance Italy. The Preconditions for Luxury Consumption // I Tatti Studies in the Italian Renaissance. Chicago: The University of Chicago Press, 1987. Vol. 2. P. 15–39.

Gonetta G. Bibliografia statutaria dell corporazioni d’arti e mestieri in Italia, con saggio della bibliografia estera. Roma: Forzani, 1891.

Graul J. «…fece per suo capriccio, e quasi per sua defensione»: i due bassorilievi in stucco di Daniele da Volterra per la cappella Orsini // Prospettiva. № 134/135. 2009. P. 141–156.

Guicciardini L. The Sack of Rome. New York: Italica Press, 2003.

Hall M. Color and Meaning: Practice and Theory in Renaissance Painting. Cambridge, New York: Cambridge University Press, 1992.

Hall M. After Raphael. Painting in Central Italy in the Sixteenth Century. Cambridge, New York: Cambridge University Press, 1999.

Hall M. Artistic Centers of the Italian Renaissance: Rome. Cambridge: Cambridge University Press, 2005.

Hansen M. S. «Know Thyself»: Daniele da Volterra’s Contested Subject // Art History. 2012. № 35 (3). P. 499–521.

Hansen M. S. In Michelangelo’s Mirror. Perino del Vaga, Daniele da Volterra, Pellegrino Tibaldi. University Park: Pennsylvania State University Press, 2013.

Harprath R. Maestri a Roma nel Cinquecento: Raffaello, Giulio Romano, Penni, Polidoro, Peruzzi, Michelangelo, Bandinelli, Perino del Vaga, Tibaldi, Barocci, Zuccari, Muziano, etc. Firenze: Istituto Alinari, 1978.

Harprath R. Il disegno di Raffaello con «Amore e Psiche» e la statua della Sabina nella Biblioteca Reale di Torino // Da Leonardo a Rembrandt. Disegni della Biblioteca Reale di Torino. Torino: Umberto Alllemandi, 1991. P. 63–69.

Hartt F. A. Raphael and Giulio Romano. With Notes on the Raphael’s School // The Art Bulletin. 1944. Vol. 26. № 2. P. 67–94.

Hartt F. A. Giulio Romano. New Haven: Yale University Press, 1958. — 2 vols.

Hartt F. A. Michelangelo’s Drawings. New York: Harry N. Abrams, 1975.

Hartt F. A. History of Italian Renaissance Art. Painting, Sculpture, Architecture. London: Thames & Hudson, 1980.

Haskell F. Patrons and Painters: A Study in the Relations Between Italian Art and Society in the Age of the Baroque. New Haven: Yale University Press, 1980.

Haskell F., Penny N. Taste and the Antique. The Lure of Classical Sculpture 1500–1900. New Haven: Yale University Press, 1981.

Hauser A. Social History of Art. London: Routledge and K. Paul, 1951. — 4 vols.

Hauser A. Der Manierismus. Die Krise der Renaissance und der Ursprung der Modernen Kunst. München: Beck, 1964.

Haverkamp-Begemann E. Creative copies. Interpretative Drawings from Michelangelo to Picasso. New York: The Drawing Center, 1988.

Hendriks C., Meijer B. W. Northern Landscapes on Roman Walls. The Frescoes of Matthijs and Paul Bril. Firenze: Centro Di della Edifimi, 2003.

Henneberg J. von. L’Oratorio dell’Arciconfraternita del Santissimo Crocifisso di San Marcello. Roma: Bulzoni editore, 1974.

Henry T., Joannides P. Raphael and his Workshop between 1513 and 1525 // Late Raphael. London: Thames & Hudson, 2013. P. 17–85.

Hess J. Kunstgeschichtliche Studien zur Renaissance und Barock. Leipzig: Storia e Letteratura, 1900.

Hess J. On Raphael and Giulio Romano // Gazette des Beaux-Arts. 1947. № 32. P. 73–106.

Hibbard H. Michelangelo. New York: Harper & Row, 1974.

Hibbard H. Caravaggio. New York: Harper & Row, 1983.

Hibbert Ch. Rome. The Biography of a City. London: W. W. Norton & Co, 1985.

Higgitt C., White R. Analysis of Paint Media: New Studies of Italian Paintings of the Fifteenth and Sixteenth Centuries // National Gallery Technical Bulletin. 2005. № 26. P. 88–104.

Hiller von Gaertringen R. Perugino’s Formelhaftigkeit und Raphaels Erzählkunst // Städel-Jahrbuch. 1997. Vol. 16. P. 223–304.

Hiller von Gaertringen R. Uso e riuso del cartone nell’opera del Perugino. L’arte fra vita contemlativa e produttivita // Pietro Vannucci detto il Perugino. Atti del convegno internazionale / Ed. L. Teza. Perugia: Volumnia Editrice, 2004. P. 335–351.

Hiller von Gaertringen R. Nuove ipotesi sulla formazione di Raffaello nella bottega del Perugino // Atti e Studi dell’Accademia Raffaello da Urbino. 2006. № 2. P. 9–44.

Hirst M. Perino del Vaga and his Circle // The Burlington Magazine. 1966. № 108. P. 398–405.

Hirst M. Sebastiano del Piombo. Oxford: Clarendon Press, 1981.

Hirst M. Il Modo delle attitudini. Michelangelo’s Oxford Sketchbook for the Ceiling // The Sistine Chapel: Michelangelo Rediscovered. London: Muller, Blond & White, 1986. P. 208–217.

Hirst M. Michelangelo Draftsman. Milan: Olivetti, 1988.

Hirst M. Michelangelo and His Drawings. New Haven, London: Yale University Press, 1988.

Hirst M., Dunkerton J. The Young Michelangelo. London: National Gallery Publications, 1994. P. 83–133.

Holmes M. Copying Practices and Marketing Strategies in a Fifteenth-Century Florentine Painter’s Workshop // The Politics of Influence: Artistic Exchange in Renaissance Italy / Ed. J. Stephen. Cambridge: Cambridge University Press, 2004. P. 38–74.

Humanist Educational Treatises. The I Tatti Renaissance Library / Ed. C. W. Kallendorf. Cambridge, Massachusetts: Harvard University Press, 2002.

Huth H. Künstler und Werkstatt der Spätgotik. Ausburg: Filser, 1923.

Il Rinascimento a Roma. Nel segno di Michelangelo e Raffaello / Eds. M. Bernardini, M. Bussagli. Milano: Electa, 2011.

Italian Academies of the Sixteenth Century / Eds. D. S. Chambers, F. Quiviger. London: The Warburg Institute, 1995.

Jaffé D. Daniele da Volterra and His Followers // The Burlington Magazine. 1986. Vol. 128. № 996. P. 184–191.

Janson H. W. The Birth of «Artistic Licence»: The Dissatisfied Patron in the Early Renaissance // Patronage in the Renaissance. Princeton: Princeton University Press, 1981. P. 344–353.

Joannides P. Michelangelo and his Influence: Drawings from Windsor Castle. Washington D. C.: National Gallery of Art, 1996.

Joannides P. Raphael and his Circle // Paragone. 2000. Vol. 51. № 601. P. 3–42.

Joannides P. Giulio Romano in Raphael`s Workshop // Quaderni di Palazzo Te. 2000. № 8. P. 35–46.

Joannides P. Michel-Ange, élèves et copistes. Paris: Réunion des musées nationaux, 2003.

Joannides P. The Drawings of Raphael: with a Complete Catalogue. Berkeley: University of California Press, 1983.

Jones R., Penny N. Raphael. New Haven: Yale University Press, 1983.

Karmon D. The Ruin of the Eternal City: Antiquity and Preservation in Renaissance Rome. Oxford: Oxford University Press, 2011.

Keith L. Giulio Romano and «The Birth of Jupiter»: Studio Practice and Reputation // National Gallery Technical Bulletin. 2003. № 24. P. 38–49.

Knab E., Mitsch E., Oberhuber K. Raphael die Zeichnungen. Stuttgart: Urachhaus, 1983.

Krautheimer R. Rome. Profile of a City. 312–1308. New Jersey: Princeton University Press, 1980.

Kristeller P. O. Renaissance Thought II: Papers on Humanism and the Arts. New York: Harper & Row, 1965.

Kwakkelstein M. W. The Use of Sculptural Models by Italian Renaissance Painters: Leonardo da Vinci’s Madonna of the Rocks Reconsidered in Light of his Working Procedures // Gazette des Beaux-Arts. 1999. № 133. P. 181–198.

Kwakkelstein M. W. The Model’s Pose: Raphael’s Early Use of Antique and Italian Art // Artibus et Historiae. 2002. Vol. 23. № 46. P. 37–60.

Kwakkelstein M. W. The Development of the Figure Study in the Early Work of Raphael // The Translation of Raphael’s Roman style / Ed. H. Th. van Veen. Leuven: Peeters, 2007. P. 21–33.

La Malfa С. Pintoricchio a Roma: La seduzione dell’antico. Milano: Silvana Editoriale, 2009.

Labo M. Giorgio Vasari. Vita di Perino del Vaga. Firenze: R. Bemporad, 1912.

Lanciani R. Storia degli scavi di Roma e notizie intorno le collezioni romane de antichita. Roma: Loeschler & Co, 1923. Vol. 3.

Lanzi L. The History of Painting in Italy. London: W. Simpkin and R. Marshall, 1828. — 6 vols.

Late Raphael. London: Thames & Hudson, 2012.

Le tecniche del disegno rinascimentale: dai materiali allo stile. Atti del convegno internazionale / Ed. M. Faietti, L. Melli, A. Nova. Firenze: Kunsthistorisches Institut, 2010.

Lee R. W. Ut Pictura Poesis. The Humanistic Theory of Painting. New York: Norton, 1967.

Leicht P. S. Corporazioni romane e arti medievali. Torino: Einaudi, 1937.

Lollini F. La scuola dei Carracci tra Accademia e bottega // La bottega dell’artista tra Medioevo e Rinascimento. Milano: Jaca Book, 1998. P. 311–327.

Longhi R. Da Cimabue a Morandi: saggi di storia della pittura italiana. Milano: Mondadori, 1978.

Lord C. Raphael, Marcantonio and Virgil // Source: Notes in the History of Art. 1984. Vol. 3. № 2. P. 23–33.

Lorenzini L. Polidoro da Caravaggio e Nicola Alibrando: la bottega dell’artista e il trionfo della lirica // La parola del testo. 2002. № 6. P. 359–370.

Louden L. M. «Sprezzatura» in Raphael and Castiglione // The Art Journal. 1968. Vol. 28. № 1. P. 43–49.

Luca D. de. Indagini sull’ underdrawing nella bottega del Barocci // Barocci in bottega. Urbino, giornata di studi 26 ottobre 2012. Foligno: Editoriale Umbra, 2013. P. 261–280.

Maestri e botteghe: pittura a Firenze alla fine del Quattrocento / Ed. M. Gregori, A. Paolucci. Firenze: Silvana, 1992.

Mahon D. Studies in Seicento Art and Theory. London: The Warburg Institute, University of London, 1947.

Malvasia C. The Life of Guido Reni. University Park: Pennsylvania State University Press, 1980.

Manca J. Michelangelo as Painter: a Historiagraphic Perspective // Artibus et Historiae. 1995. № 31. P. 111–123.

Mancinelli F. Raphael’s Coronation of Charlemagne and its Cleaning // The Burlington Magazine. 1984. № 126. P. 404–410.

Mancinelli F. Michelangelo at Work: The Painting of the Ceiling // The Sistine Chapel: Michelangelo Rediscovered. London: Muller, Blond & White, 1986. P. 218–259.

Mancinelli F. Tecnica di Michelangelo e organizzazione del lavoro // Michelangelo e la Sistina. La tecnica, il restauro, il mito. Roma: Palombi, 1990. P. 55–59.

Mancinelli F. Il problema degli aiuti di Michelangelo // Michelangelo, la Cappella Sistina. Documenti e interpretazioni. Vol. 3. Novara: De Agostini, 1994. P. 107–114.

Mandel C. L. Sixtus V and the Lateran Palace. Roma: Istituto poligrafico e Zecca dello Stato, 1994.

Marabottini A. Polidoro da Caravaggio. Roma: Edizioni dell’Elefante, 1969. — 2 vols.

Marciari J. Girolamo Muziano and the Art in Rome. Ca. 1550–1600. Ph. D. New Haven: Yale University, 2000.

Marciari J. Girolamo Muziano and the Dialogue of Drawings in Cinquecento Rome // Master Drawings. 2002. Vol. 40. № 2. P. 113–134.

Marciari J. Artistic Practice in Late Cinquecento Rome and Girolamo Muziano’s Accademia di San Luca // The Accademia Seminars: The Accademia di San Luca in Rome, ca. 1590–1635 / Ed. P. M. Lukehart. New Haven: Yale University Press, 2009. P. 197–223.

Marciari J. Art of Renaissance Rome: Artists and Patrons in the Eternal City. London: Laurence King, 2017.

Martin A. von. Sociology of the Renaissance. London: Trubner & Co, 1944.

Martinez L. The Social World of the Floretine Humanists, 1390–1460. Princeton: Princeton University Press, 1963.

Meder J. Die Handzeichnung, ihre Technik und Entwicklung. Wien: A. Schroll & Co, 1919.

Mendelsohn L. The Sum of the Parts. Recycling Antiquities in the Maniera Workshops of Salviati and his Colleagues // Francesco Salviati e la bella maniera. Rome: École française de Rome, 2001. P. 107–148.

Michelangelo e la Sistina: la tecnica, il restauro, il mito. Roma: Palombi, 1990.

Mochi Onori L. Note sull’eredità di Giovanni Santi e la continuità della bottega // Giovanni Santi. Cinisello Balsamo: Silvana Editoriale, 2018. P. 237–239.

Monbeig-Goguel C. Workshop Continuity through the Generations: Bandinelli versus Francesco Salviati // Master Drawings. 2005. Vol. 43. № 3. P. 316–325.

Moretti M. Raffaello, Michelangelo e le maestranze artistiche urbinati a Roma. Rapporti, influenze, dipendenze // Arte Marchigiana. № 1. Urbino: Centro Studi G. Mazzini, 2014. P. 63–108.

Müntz E. Les Arts à la cour des papes aux XV^e et XVI^e siècle. Paris: E. Thorin, 1875–1898. — 2 vols.

Muzii Cavallo R. Raffaello, Michelangelo e bottega: i cartoni farnesiani restaurati. Napoli: Electa, 1993.

Nelson J. K. La disgrazia di Pietro: l’importanza della pala della Santissima Annunziata nella Vita del Perugino del Vasari // Pietro Vannucci detto il Perugino. Atti del convegno internazionale / Ed. L. Teza. Perugia: Volumnia, 2004. P. 65–73.

Nesselrath A. Das Fossomroner Skizzenbuch: Ein Codex in der Biblioteca Civica Passionei zu Fossombrone mit Nachzeichnungen nach der Antike (Studies of the Warburg Institute). London: University of London Warburg Institiute, 1993.

Nesselrath A. Lorenzo Lotto in the Stanza della Segnatura // The Burlington Magazine. 1999. № 142. P. 4–12.

Nesselrath A. Raphael and Pope Julius II // H. Chapman, T. Henry, C. Plazzotta. Raphael: From Urbino to Rome. London: National Gallery Publications, 2004. P. 280–294.

Nova A. Salviati, Vasari, and the Reuse of Drawings in their Working Practice // Master Drawings. 1992. Vol. 30. P. 83–108.

Oberhuber K. Observations on Perino del Vaga as a Draughtsman // Master Drawings. 1966. № 4. P. 170–182.

Oberhuber K. Raphaels Zeichnungen. Abteilung IX. Entwürfe zu Werken Raphaels und seiner Schule im Vatikan 1511–12 bis 1520. Berlin: Gebr. Mann, 1972.

Oberhuber K. Giulio Romano pittore e disegnatore a Mantova // Giulio Romano. Milano: Electa, 1989. P. 135–137.

Oberhuber K. La sala di Psiche // Giulio Romano. Milano: Electa, 1989. P. 343–346.

Oberhuber K. Raffaello // La bottega dell’artista tra Medioevo e Rinascimento. Milano: Jaca Book, 1998. P. 257–274.

Oberhuber K. Roma e lo stile classico di Raffaello, 1515–1527. Milano, Electa: 1999.

Oberhuber K. Perino del Vaga e Raffaello // Perino del Vaga tra Raffaello e Michelangelo. Milano: Electa, 2001. P. 51–56.

O’Grody J. «Un semplice Modello»: Michelangelo and his Three-Dimensional Preparatory Works. Ph.D. thesis. Case Western Reserve University, 1999.

O’Malley M. Late Fifteenth-and Early Sixteenth-century Painting Contracts and Stipulated Use of the Painter’s Hand // With and without Medici: Studies in Tuscan Art and Patronage 1434–1530. Aldershot: Alison Wright, 1998. P. 155–178.

O’Malley M. Quality, Demand, and the Pressures of Reputation: Rethinking Perugino // The Art Bulletin. 2007. Vol. 89. № 4. P. 674–693.

O’Malley M. Painting under Pressure: Fame, Reputation, and Demand in Renaissance Florence. New Haven: Yale University Press, 2014.

Orbaan J. A. F. Virtuosi al Panteon: Archivalische Beiträge zur Römichen Kunstgeschichte // Repertorium fur Kunstwissenschaft. 1915. № 37. P. 17–52.

Ortega M. M. Federico Zuccari: innovazione e trasgressione nelle accademie italiane tra Cinque e Seicento // Intrecci virtuosi. Lerrerati, artisti e accademie tra Cinque e Seicento. Roma: De Luca Editori D’Arte, 2017. P. 139–152.

Paliaga F. Il giovane Caravaggio nella bottega di Giuseppe Cesari: una fonte trascurata e le vicende della «Caraffa di fiori» // Atti della giornata di studi Francesco Maria del Monte e Caravaggio. Pontedera: Bandecchi & Vivaldi, 2011. P. 67–102.

Paliaga F. Caravaggio nella bottega del Cavalier d’Arpino // L’origine della natura morta in Italia. Caravaggio e il Maestro di Hartford. Milano: Skira, 2016. P. 89–103.

Pampalone A. Caravaggio «Virtuoso»: una leggenda? // Caravaggio a Roma. Una vita dal vero. Roma: De Luca, 2011. P. 46–53.

Panofsky E. Meanong in the Visual Arts. [1955] Chicago: University of Chicago Press, 1982.

Paolucci A. La bottega di Raffaello e il Sacco di Roma // I Papi della memoria. Roma: Gangemi, 2012. P. 47–52.

Parma Armani E. Perin del Vaga: L’anello mancante: studi sul manierismo. Genova: Sagep, 1986.

Parma Armani E. Giovanni da Udine e Perin del Vaga: da maestro a maestro // Studi di storia delle arti. 1995–1996. № 8. P. 43–54.

Parrilla F. La carriera di un petit maître. Marcello Venusti oltre Michelangelo // Michelangelo a colori. Marcello Venusti, Lelio Orsi, Marco Pino, Jacopino del Conte. Roma: De Luca, 2019. P. 17–35.

Partridge L. The Art of Renaissance Rome. 1400–1600. London: Prentice Hall, 1996.

Partridge L. The Renaissance in Rome. London: Laurence King, 2012.

Pastor L. von. History of the Popes. London: Routledge and K. Paul, 1891–1899. — 40 vols.

Pater W. Studies in the History of the Renaissance. London: Macmillan, 1873.

Penny N. Pittori e botteghe nell’Italia del Rinascimento // La bottega dell’artista tra Medioevo e Rinascimento. Milano: Jaca Book, 1998. P. 31–54.

Perino del Vaga for Michelangelo. The Spalliera of the Last Judgement on the Galleria Spada. With documents on Perino’s Life and Work from 1937 to 1547 / Ed. B. Agosti, S. Ginzburg. Rome: Officina Libraria, 2021.

Pescatori A. L’inventario della dimora di un pittore del Seicento a Roma // Riviata d’arte. 1958. Vol. 33. P. 66–72.

Pevsner N. Academies of Art. Past and Present. Cambridge: Cambridge University Press, 1940.

Pinelli A. La bella maniera. Artisti del Cinquecento tra regola e licenza. Torino: Einaudi, 1993.

Poeschel S. Raphael’s Nudes Painted by Giulio’s Hand // The Translation of Raphael’s Roman Style / Ed. H. Th. van Veen. Leuven: Peeters, 2007. P. 35–48.

Pon L. Raphael, Dürer, and Marcantonio Raimondi. Copying and the Italian Renaissance Print. New Haven: Yale University Press, 2004. P. 82–85.

Preimesberger R. Paragons and Paragone: Van Eyck, Raphael, Michelangelo, Caravaggio, and Bernini. Los Angeles: Getty Research Institute, 2011.

Procacci U. Una «vita» inedita del Muziano // Arte Veneta. 1954. № 8. P. 242–264.

Ragghianti Collobi L. Il libro de’ disegni del Vasari. Firenze: Vallecchi, 1974. — 2 vols.

Raphael’s Painting Technique: Working Practices Before Rome: Proceedings of the Eu-ARTECH Workshop. National Gallery / Ed. A. Roy, M. Spring. Firenze: Nardini, 2007.

Redin Michaus G. Sobre Gaspar Becerra en Roma. La capilla de Constantino del Castillo en la iglesia de Santiago de los Españoles //Archivo Español de Arte. 2002. Vol. 75. № 298. P. 129–144.

Rethinking the High Renaissance: The Culture of the Visual Arts in Early Sixteenth-Century Rome. Visual Culture in Early Modernity / Ed. J. Burke. London: Routledge, 2012.

Richter J. P. Literary Works of Leonardo Da Vinci. London: Phaidon, 1970.

Rinaldi F. Michelangelo e il disegno a Roma: continuità e sopravvivenza di uno stile dopo il 1564 // Dopo il 1564: l’eredità di Michelangelo a Roma nel tardo Cinquecento. Roma: De Luca, 2016. P. 56–81.

Robertson С. Federico Zuccari’s Accademia del Disegno and the Carracci Accademia degli Incamminati: Drawing in Theory and Practice // Romisches Jahrbuch der Bibliotheca Hertziana. 2009–2010. № 39. P. 187–223.

Robertson C. Rome 1600. The City and the Visual Arts under Clement VIII. New Haven, London: Yale University Press, 2015.

Rolland R. De la décadence de la peinture italienne au XVI^ème siècle. Paris: Albin Michel, 1957.

Rosenauer A. Ghirlandaio e Michelangelo: problemi di bottega e metodi di lavoro // Michelangelo. La Cappella Sistina, III, Documantazione e interpretazioni. Atti del convegno internazionale di studi. Roma: Novara, 1990. P. 115–117.

Rossi S. Dalle botteghe alle accademie: realta sociale e teorie artistiche a Firenze dal XIV al XVI secolo. Milano: Feltrinelli, 1980.

Rossi S. La Compagnia di San Luca nel Cinquecento e la sua evoluzione in Accademia // Ricerche per la storia religiosa di Roma. V. 5. Roma: Edizioni di Storia e Letteratura, 1984. P. 367–394.

Rossi S. Tradizione e innovazione nella pittura romana del Quattrocento: i maestri e le loro botteghe // Le due Rome del Quattrocento: Melozzo, Antoniazzo e la cultura artistica del ’400 romano. Roma: Lithos, 1997. P. 19–39.

Röttgen H. Il Cavaliere d’Arpino. Roma: De Luca Editore, 1973.

Röttgen H. Il Cavalier Giuseppe Cesari d’Arpino: un grande pittore nello splendore della fama e nell’incostanza della fortuna. Roma: Ugo Bozzi, 2002.

Röttgen H. Le funzioni del disegno nell’opera e nella bottega di Giuseppe Cesari d’Arpino // Studi sul Barocco romano. Milano: Skira, 2004. P. 19–24.

Rubin P. Giorgio Vasari: Art and History. New Haven: Yale University Press, 1995.

Rubin P. L., Wright A. Renaissance Florence: The art of the 1470s. London: National Gallery Publications, 1999.

Ruggieri M. B. de. Il San Luca che dipinge la Vergine: veti e compatibilità con la tecnica di Raffaello e della sua bottega // Annali delle arti e degli archivi. Per una rete di relazioni: molteplicità, testi plurimi, polifonici e caleidoscopici. 2015. № 1. P. 145–154.

Russo L. Marcello Venusti e Michelangelo // Michelangelo e Dante. Milano: Electa, 1995. P. 143–148.

Salerno L. The Roman World of Caravaggio: his Admirers and Patrons // The Age of Caravaggio. New York: Metropolitan Museum of Arts. 1985. P. 17–21.

Salvagini I. Pour l’histoire de l’Académie de Saint-Luc. Notes pour une révision. // Revue de l’art. 2011. № 171. P. 17–29.

Salvatore D. A. L. Maestri e botteghe del Rinascimento italiano // Atelier d’artista. Gli spazi di creazione dell’arte dall’età moderna al presente. Milano — Udine: Mimesis, 2014. P. 13–23.

Salvini R. La capella Sistina in Vaticano. Milano: Rizzoli, 1965. Vol. 1.

Saxl F. The Capitol During the Renaissance. A Symbol of the Imperial idea // Saxl F. Lectures. London: Warburg Institute, 1957. Vol. 1. P. 200–214.

Schlosser J. von. Aus der Bilderwerkstatt der Renaissance. Fragmente zur Geschichte der Renaissanceplastik. Wien: Wien & Lpz., 1913.

Schlosser J. von. Zur Rolle des Kleinmodells im Studio des Kunstlers und des Amateurs // Jahrbuch der kunsthistorischen. Sammlungen des Allerhöchsten Kaiserhauses. 1913. № 31. S. 67–135.

Scrase D. A Touch of the Divine: Drawings by Federico Barocci in British Collections. Cambridge: Fitzwilliam Museum Enterprises, 2006.

Scritti d’arte di Federico Zuccaro / Ed. D. Heikamp. Firenze: L. S. Olschki, 1961.

Shearman J. Raphael’s Unexecuted Projects for Stanze // Walter Friedländer zum 90 Geburtstag: eine Festgabe seiner europäischen. Berlin: Walter de Gruyter, 1965. P. 158–180.

Shearman J. Mannerism. Style and Civilization. London: Penguin books, 1967.

Shearman J. Raphael’s Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel. London: Phaidon Press, 1972.

Shearman J. Raphael, Rome and the Codex Escurialensis // Master Drawings. 1977. № 15. P. 107–146.

Shearman J. The Organization of Raphael’s Workshop // Museum Studies. 1983. № 10. P. 41–57.

Shearman J. Raffaello e la bottega // Raffaello in Vaticano. Milan: Electa, 1984. P. 258–263.

Shearman J., White J. Raphael’s Tapestries and their Cartoons // The Art Bulletin. 1958. Vol. 40. № 3. P. 193–221.

Simons P. Portraiture and Patronage in Quattrocento Florence with Special Reference to the Tornaquinci and their Chapel in Santa Maria Novella. University of Melbourne, 1985.

Smyth C. H. Mannerism and Maniera. New York: J. J. Augustin, 1962.

Stillinger J. Multiple Authorship and the Myth of Solitary Genius. New York, Oxford: Oxford University Press. 1991.

Stinger Ch. The Renaissance in Rome. Bloomington: Indiana University Press, 1985.

Strinati C. Sebastiano del Piombo e Rinascimento a Roma // Sebastiano del Piombo. 1485–1547 / Ed. F. Motta. Roma: Federico Motta, 2008. P. 15–23.

Strunk Ch. The Original Setting of the Early Life of Taddeo Series. A New Reading of the Pictorial Program in the Palazzo Zuccari, Rome // Taddeo and Federico Zuccaro. Artist-brothers in Renaissance Rome / Ed. J. Brooks. Los Angeles: Los Angeles: The Paul Getty Museum, 2007. P. 113–125.

Studying Old Master Paintings: Technology and Practice. The National Gallery Technical Bulletin 30^th Anniversary Conference Postprints / Ed. M. Spring. London: Archetype Publications, 2011.

Symonds J. A. The Life of Michelangelo Buonarroti: Based on Studies in The Archives of the Buonarroti Family in Florence. London: John C. Nimmo, 1893. — 2 vols.

Taddeo and Federico Zuccaro. Artist-brothers in Renaissance Rome / Ed. J. Brooks. Los Angeles: The Paul Getty Museum, 2007.

Talvacchia B. Raphael’s Workshop and the Development of a Managerial Style // The Cambridge Companion to Raphael / Ed. M. Hall. Cambridge: Cambridge University Press, 2005. P. 167–185.

Temple N. Renovatio Urbis: Architecture, Urbanism, and Ceremony in the Rome of Julius II. The Classical Tradition in Architecture. London: Routledge, 2011.

Teodoro F. P. di. The Letter to Leo X // Raphael 1520–1483. Milano: Skira editore S.p.A., 2020. P. 69–77.

The Craft of Art: Originality and Industry in the Italian Renaissance and Baroque Workshop / Ed. A. Ladis. Athens, London: University of Georgia Press, 1995.

The Material Renaissance / Eds. M. O’Malley, E. Welch. Manchester: Manchester University Press, 2007.

Thomas A. J. The Painter’s Practice in Renaissance Tuscany. Cambridge: Cambridge University Press, 1997.

Tolnay Ch. The Youth of Michelangelo. Princeton: Princeton University Press, 1943.

Tolnay Ch. The Tomb of Julius II. Princeton: Princeton University Press, 1954.

Tolnay Ch. Michelangelo. Sculptor, Painter, Architect. Princeton: Princeton University Press, 1975.

Tolnay Ch. Corpus dei disegni di Michelangelo. Novara: De Agostini, 1975–1980. — 4 vols.

Tosini P. Girolamo Muziano 1532–1592: dalla maniera alla natura. Roma: Ugo Bozzi, 2008.

Tosini P. Esercizi accademici: pratica artistica e modelli antiquari nella pittura di Girolamo Muziano // L’Accademia riflette sulla sua storia. Perugia: Futura, 2011. P. 173–188.

Treves L. Daniele da Volterra and Michelangelo: A Collaborative Relationship // Apollo. 2001. № 154. P. 36–45.

Turner N. An Attack on the Accademia di S. Luca: Ludovico David’ s L’Amore dell’ Arte // British Museum Yearbook. 1976 Vol. 1. P. 157–186.

Van Marle R. The Development of the Italian Schools of Painting. 1923–1938. Leiden: Martinus Nijhoff. — 19 vols.

Vanturini L. Modelli fortanati e produzione di serie // Maestri e botteghe: pittura a Firenze alla fine del Quattrocento / Ed. M. Gregori, A. Paolucci. Firenze: Silvana, 1992. P. 147–164.

Varoli-Piazza R. Il fregio della Sala delle Prospettive: un’ipotesi per la bottega del Peruzzi // Baldassarre Peruzzi. Pittura, Scena, Architettura nel Cinquecento. Roma: Istituto della Enciclopedia italiana, 1987. P. 363–398.

Ventury A. Storia dell’arte italiana. Milano: Ulrico Hoepli, 1901–1940. — 21 vols.

Verstegen I. Barocci, Cartoons, and the Workshop: A Mechanical Means for Satisfying Demand // Notizie da Palazzo Albani. 2007. № 34/35. P. 101–123.

Wackernagel M. Der Lebensraum des Künstlers in der florentinischen Renaissance. Aufgaben und Auftraggeber, Werkstatt und Kunstmarkt. Leipzig: E. A. Seemann, 1938.

Waga H. Vita nota e ignota die Virtuosi al Pantheon: contributi alla storia della Pontificia Accademia Artistica dei Virtuosi al Pantheon. Roma: Arte della stampa, 1992.

Wallace W. E. Michelangelo’s Assistants in the Sistine Chapel // Gazette des Beaux-Arts. 1987. № 110. P. 203–216.

Wallace W. E. Instruction and Originality in Michelangelo’s Drawings // The Craft of Art: Originality and Industry in the Italian Renaissance and Baroque Workshop / Ed. A. Ladis. Athens: University of Georgia Press, 1995. P. 113–133.

Wallace W. E. Michelangelo Admires Marcello Venusti … and Antiquity // Ashes to Ashes: Art in Rome Between Humanism and Maniera. Roma: Edizioni dell’Ateneo, 2006. P. 125–155.

Wallace W. E. Michelangelo: The Artist, the Man, and His Times. Cambridge; New York: Cambridge University Press, 2010.

Waźbiński Z. L’Accademia Medicea del Disegno a Firenze nel ’500. Idea e istituzione. Firenze: L. S. Olschki, 1987. — 2 vols.

Weiss R. The Renaissance Discovery of Classical Antiquity. Oxford: Basil Blackwell, 1969.

Wilde J. Michelangelo and his Studio. Italian Drawings in the Department of Prints and Drawings in the British Museum. London: British Museum Publications, 1953.

Wilde J. Cartonetti by Michelangelo // The Burlington Magazine. 1959. Vol. 101. № 680. P. 370–381.

Wilde J. Michelangelo. Six Lectures. Oxford: Oxford University Press, 1978.

Williams R. Raphael and the Redefinition of Art in Renaissance Italy. Cambridge: Cambridge University Press, 2017.

Wittkower R., Wittkower M. Born under Saturn: The Character and Conduct of Artists. London: Weidenfeld & Nicolson, 1963.

Wolfram P. Dal vero o dal modello? Appunti e testimonianze sull’uso dei manichini nella pittura del Quattrocento // Scritti di storia dell’arte in onore di Ugo Procacci. Milano: Electa, 1977. Vol. I. P. 200–208.

Wolk-Simon L. Reviewed Work: Perin del Vaga, l’anello mancante: Studi sul manierismo by Elena Parma Armani // The Art Bulletin. 1989. № 71. P. 515–523.

Wolk-Simon L. Raphael Drawings, Pro-Contra // The Cambridge Companion to Raphael / Ed. M. Hall. Cambridge: Cambridge University Press, 2005. P. 207–223.

Wolk-Simon L. Competition, Collaboration, and Specialization in the Roman Art World, 1520–1527 // The Pontificate of Clement VII: History, Politics, Culture / Ed. K. Gouwens, S. Reiss. Aldershot: Ashgate, 2005. P. 253–274.

Würtenberger F. Der Manierismus: Der europäische Stil des sechzehnten Jahrhunderts. Wien, München: Schroll, 1962.

Zuccari A. I pittori di Sisto V. Roma: Fratelli Palombi, 1992.

Zuccari A. Cesare Nebbia tra Orvieto, Roma e Viterbo // L’età di Michelangelo e la Tuscia. Viterbo: Beta Gamma, 2007. P. 71–86.

Аверлино А. Филарете. Трактат об архитектуре [1972] / Пер. В. Л. Глазычева. М.: Русский университет, 1999.

Альберти Л. Б. Десять книг о зодчестве. [1435, 1485] / Пер. А. Г. Габричевского. М.: Изд‑во Всесоюзной академии архитектуры, 1935–1937.

Вазари Дж. Жизнеописания наиболее знаменитых живописцев, ваятелей и зодчих [1560, 1568] / Пер. А. Г. Габричевского и А. И. Венедиктова. М.: Альфа-книга, 2017.

Дюрер А. Трактаты [1525, 1538] / Пер. Ц. Г. Нессельштраус. М.: Изд‑во Студии Артемия Лебедева, 2011.

Мандер К. Книга о художниках [1604] / Пер. В. М. Минорского. СПб.: Азбука-классика, 2007.

Мастера искусства об искусстве. Избранные отрывки из писем, дневников, речей и трактатов: В 2 т. М.: ОГИЗ, 1937; М.: Искусство, 1966.

Микеланджело. Поэзия. Письма. Суждения современников / Сост. В. Н. Гращенков. М.: Искусство, 1983.

Поццо А. Перспектива живописцев и архитекторов, в которой излагается легчайший и быстрейший способ перспективного изображения всего, что относится к архитектуре. [1708–1709] / Сокр. пер. А. И. Венедиктова. М.: Изд‑во Всесоюзной академии архитектуры, 1936.

Челлини Б. Жизнеописание. Сонеты. Трактаты. [1728] / Пер. В. Штейна, А. Косс., И. Моисеенко, Ю. Ильина. СПб.: Азбука-классика, 2003.

Alberti L. B. On Painting. A New Translation and Critical Edition. R. Sinisgalli. Cambridge: Cambridge University Press, 2011.

Alberti R. Trattato della nobiltà della pittura. [1585] London: Fb&c Limited, 2017.

Alberti R., Zuccaro F. Origine e progresso dell’Accademia del Dissegno. De pittori, scultori ed architetti di Roma. Pavia: Pietro Bartoli, 1604.

Armenini G. B. De’ veri precetti della pittura. [1586] Torino: Einaudi, 1988.

Baglione G. Le vite de’ pittori, scultori et architetti. Dal pontificato di Gregorio XIII del 1572 in fino a’tempi di Papa Urbano Ottavo del 1642. Roma: Stamperia d’Andrea Fei, 1642.

Baratto M. La poesia di Michelangelo // Rivista di letteratura italiana. 1984. Vol. 2. № 3. P. 421–423.

Bellori G. P. Le vite de’ pittori, scultori et architetti moderni. Roma: Per il success al Mascardi, 1672.

Borghini R. Il Riposo. [1584] Firenze: Michele Nestenus e Francesco Moucke, 1730.

Buonarroti M. Rime e Lettere / Ed. P. Mastrocola. Torino: Unione Tipografico-Editrice Torinese, 1992.

Cennini C. Il libro dell’arte della pittura. [1821] Firenze: F. Le Monnier, 1859.

Creighton G. Italian Art, 1400–1500. Sources and Documents. New Jersey: Englewood Cliffs, 1980.

Condivi A. Vita di Michelagnolo Buonarroti: pittore, scultore, architetto e gentiluomo fiorentino. [1553] Whitefish: Kessinger, 2010.

Dolce L. Dialogo della pittura. L’Aretino. [1557] // Dolce’s «Aretino» and Venetian Art Theory of the Cinquecento. New York: New York University Press, 1968. P. 83–195.

Giovio P. Fragmentum trium dialogorum [1523–27] // Barocchi P. Scritti d’arte del cinquecento. Milano, Napoli: R. Ricciardi, 1971. P. 7–21.

Giulio Romano: repertorio di fonti documentarie. Roma: Ministero per i beni culturali e ambientali, 1992. — 2 vols.

Giustiniani V. Discorsi sulle arti e sui mestieri / Ed. A. Banti. Firenze: Sansoni, 1981.

Il Carteggio di Michelangelo / Ed. P. Barocchi, R. Ristori. Firenze: Sansoni, 1965–1983. — 5 vols.

Lomazzo G. P. Trattato dell’arte della pittura, scoltura et architettura. [1584] // Lomazzo G. P. Scritti sulle arti / Ed. R. P. Ciardi. Vol. 2. Firenze: Marchi & Bertolli, 1974. P. 7–589.

Mancini G. Le Considerazioni sulla pittura. [1617–1621] Pubblicate per la prima volta da Adriana Marucchi, con il commento di Luigi Salerno. Vol. 2. Roma: Accademia Nazionale dei Lincei, 1956–1957.

Pino P. Dialogo di pittura. [1548] Paris: Honoré Champion, 2011.

Shearman J. Raphael in Early Modern Sources. New Haven: Yale University Press, 2003.

Varchi B. Due Lezzioni, nella prima delle quali si dichiara un sonetto di M. Michelagnolo Buonarroti, nella seconda si disputa quale sia la più nobile arte la Scultura, o la Pittura. Firenze: Lorenzo Torrentino, 1549.

Vasari G. Le vite de’ più eccellenti pittori scultori ed architetti. [1550, 1568] Firenze: Sansoni, 1906. — 9 vols.

Vasari G. La vita di Michelangelo nelle redazioni del 1560 e del 1568 / Ed. P. Barocchi. Milano, Napoli: Ricciardi, 1962. — 5 vols.

Vasari G. The Life of Raphael / Ed. R. Scorza, P. Joannides. London: Thames & Hudson, 2020.

Vinci L. Da. Trattato della Pittura. [1651] Roma: Unione cooperativa editrice, 1890.

Zuccaro F. L’idea de’ pittori, scultori ed architetti. [1607] / Ed. D. Heikamp. Firenze: L. S. Olschki, 1961.

Zuccaro F. La dimora di Parma: con le feste, e trionfi meravigliosi celebrati in Mantova per le nozze del Serenissimo Prencipe Francesco e la Serenissima Infante Margarita di Savoia. Bologna: Cocchi, 1608.