The Art of the Renaissance

The Art of the Renaissance

Peter Murray, Linda Murray

Language: English

Pages: 292

ISBN: B002NIHDK2

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."

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Portraiture (Oxford History of Art)

 

 

 

 

 

 

 

 

 

 

 

reinforced for English readers, by John Addington Symonds's Renaissance in Italy. Both these books present a rather romantic account of the period, in which the exuberance of the Itahan temperament is occasionally taken at its face value, with results that might have surprised the principals. Symonds was by temperament and upbringing almost entirely antipathetic to everything valuable in Italian civilization, and he wrote from a position which almost automatically disqualified him from a true

subsidiary Francis renounces his earthly Father [plate 98 PiERO DELLA Francesca Baptisui of Christ was painted for the church at Borgo between 1437 and 1444, and it was laid down in the contract that the picture should be painted in Siena and sent to Borgo; the very choice of a Sienese rather than a Florentine painter suggests that in art the affiliations of Borgo were with Siena rather than Florence, and this is also supported by the fact that Matteo di Giovanni, whom no one would ever

after that date. Being unfinished, particularly useful as an The Brera angels, important, for saints, it is — adored hy Federigo da Montefeltro was set, — is still more one of the earUest of the fully developed type of the Sacra Conversazione with an architectural setting as a continuation is example of his technique. The Madonna and Child with Altarpiece {plate 106) and six it which is treated in which it of the actual architecture of the chapel thus creating a spatial

simpler and more satisfactory method of combining a woodcut illustration with type: the surprising thing is that they survived for so long. Many of them were popular devotional works, such as the Ars Moriendi ( The Art of Dying Well) [plate 153), the Speculum Humanae Salvationis [Mirror of Human Salvation), or the Biblia Pauperum, a series of illustrations of Bible stories so arranged that the New Testament events were faced by the Old Testament anti-types, the stories which were held to be

a sermon of Savonarola neither too black nor too thin in appearance tine Christ in the Garden {plate 13^) it also shows how the were dependent on the painters in this case Botticelli for their style. The most beautiful book of the fifteenth century is undoubtedly the famous Hypnerotomachia Poliphili {The Strife of Love in a Dream) which was published by Aldus Manutius, the greatest printer and publisher of the age, at Venice in 1499. This is an elaborate romance which contains pages of sheer

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