The Art of the Renaissance

The Art of the Renaissance

Peter Murray, Linda Murray

Language: English

Pages: 292


Format: PDF / Kindle (mobi) / ePub

"The Renaissance began in Italy, but it was not a purely Italian phenomenon. It grew out of European civilization, with roots in antiquity, in Christian dogma, and in Byzantium. The authors follow this growth to the Florence of 1420 and the artistic ferment seething there, to the fascinating regional schools of Siena, Umbria, Mantua, and Rome ~ the magnet for every creative ambition through the influence of the great patron ~ Popes. Architecture, sculpture, painting, book illustration, and all the arts of design underwent the same transformation. Meanwhile, artists outside the Mediterranean world, like Durer and Grunewald, grafted the new concepts on to their native and still vigorous Gothic, and the new ideas spread through France, the Netherlands, Austria, Spain, and Portugal. Late in the century came the giants of the High Renaissance ~ Leonardo, Michelangelo, Bramante, and Raphael ~ an age whose astounding concentration of genius has never been equalled before or since. In telling this complex story, the authors cover all the decisive personalities and events, both taking in the field as a whole and giving each part of the history its due emphasis. Since the classic works of Burckhardt, Berenson, and Friedlander, there has been no survey of the Renaissance of comparable scope and authority."

Animals in Stone: Indian Mammals Sculptured Through Time (Handbook of Oriental Studies)

Gauguin - Art dossier Giunti

Symbolism (Art of Century)

The Complete "Masters of the Poster": All 256 Color Plates from "Les Maitres De L'Affiche" (Dover Fine Art, History of Art)

Gardner's Art through the Ages: A Global History, Volume 1 (14th Edition)

Simbolismo (Art dossier Giunti)














face behind his hand, a third companion, and yet another has next to Herod fall fled from the table, the over each other in their effort to escape from the ghastly trophy presented to the King, and even the triumphant Salome is abashed at her own exploit. Behind the table of feasters is an arcade, and in a room beyond it musicians play, and in another room beyond that figures can be seen through the open arches, so that there are a number of spatial elements one behind the other,

still a living thing. They were inevitably exponents of the new, lay, learning, which, like the professional studies of the clergy, was based on Latin. Giorgio Vasari, the painter, wrote the first important book on art history in 1550 (it was so successful that it was reprinted, with many additions, in 1568), and he shared this view of the revival of the arts as a rebirth of antiquity after the long sleep of the Middle Ages. In . . — the Preface to his Lives of the Painters, Sculptors, and

in the tiny panels where she lady, half-enthroned of under a canopy of sits, like a state, h2Ll(-hourgeoise tradition that the Van Eycks invented upon oil-painting has long been abandoned. The amazing technique of Jan's works does, ever, suggest that he varnish or grand modest room. the floor in a The a frozen smile, or a half-smile contentment and pride in the face of the Madonna looking oil must have invented or perfected medium, of brush-strokes, and a better,

Latin to St Jerome's). Scholastic, and elegant naturally quoted extensively they did not distinguish Humanism, wisdom and P. O. Kristeller, in Renaissance and Humanistic understand what it meant A recent historian of Thought: Strains, has described it The thus: Classic, *We can for a Renaissance humanist with religious convictions to attack scholastic theology and to advocate a return to It meant that these were themselves the product of antiquity, were considered as the

Alberti's ideas. side 130 at this time. During time he was working on a large altarpicce for the this Augustinian church in Borgo, commissioned in 1454. Originally the Madonna and Child enthroned polyptych must have consisted of a with two in the centre panel saints on either side, and with six small panels of half-length saints at the edges, and a predella below, of which the Crucifixion alone seems to have survived. The four main panels of saints have been identified as those

Download sample