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Color and meaning : practice and theory in Renaissance painting

Author: Marcia B Hall
Publisher: Cambridge ; New York : Cambridge University Press, 1992.
Edition/Format:   Book : EnglishView all editions and formats
Database:WorldCat
Summary:
The importance of color has long been recognized as a significant factor in our experience of painting, but until recently it has been neglected by art historians. With the development of new technologies since World War II, however, art historians have made important discoveries that have substantially enlarged our understanding of technique and the subtle effects of color. Color and Meaning: Practice and Theory in  Read more...
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Details

Document Type: Book
All Authors / Contributors: Marcia B Hall
ISBN: 0521392225 9780521392228
OCLC Number: 23766002
Description: xiv, 274 p. : ill. (some col.) ; 29 cm.
Contents: Introduction : can we know what Renaissance color was? --
The Cennini system --
Duccio, Christ healing the man born blind --
Giotto, Betrayal of Christ --
Fra Angelico, Descent from the cross --
Alberti, Flemish technique, and the introduction of oil --
Jan van Eyck, Virgin of the Canon van der Paele --
Domenico Veneziano, The Madonna and Child with saints (Saint Lucy altarpiece) --
Piero della Francesca, Madonna and Child with saints (Montefeltro altarpiece) --
Perugino, Lamentation over the dead Christ --
The modes of coloring in the cinquecento --
Leonardo da Vinci, Mona Lisa --
Michelangelo, The Sistine Chapel vault --
Raphael, Transfiguration --
Sebastiano del Piombo, Flagellation, Transfiguration, Prophets --
Andrea del Sarto, Madonna of the harpies --
Mannerism and counter-reformation --
Pontormo, Entombment --
Bronzino, Pietà --
Perino del Vaga, Sala Paolina --
Barocci, Entombment --
Venice and the development of tonal painting --
Giorgione, La tempesta --
Titian, Bacchus and Ariadne --
Titian, Danaë visited by the shower of gold --
Jacopo Tintoretto, The last supper.
Responsibility: Marcia B. Hall.
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Abstract:

The importance of color has long been recognized as a significant factor in our experience of painting, but until recently it has been neglected by art historians. With the development of new technologies since World War II, however, art historians have made important discoveries that have substantially enlarged our understanding of technique and the subtle effects of color. Color and Meaning: Practice and Theory in Renaissance Painting, 1300-1600 draws upon these recent scientific discoveries made in the conservation laboratories and applies them in close readings of twenty major paintings by artists such as Giotto, Leonardo da Vinci, and Tintoretto. No mere history of technique, however, this book integrates the recent scientific discoveries with the traditional approaches of art history, including documentary evidence and stylistic analysis. Elucidating how color and technique contribute to, and are often identical with, meaning, it provides the first modern consideration of Renaissance painting both as physical objects and as monuments of cultural history.

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