От Рафаэля до Кавалера д’Арпино. Устройство римских живописных мастерских XVI века - Лубникова Мария Владимировна
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.