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Early Italian painting

著者: J A Crowe; G B Cavalcaselle; Jameson, Mrs.
出版: New York : Parkstone Press International, ©2011.
シリーズ: Art of century collection.
エディション/フォーマット:   電子書籍 : Document : Englishすべてのエディションとフォーマットを見る
データベース:WorldCat
概要:
Oscillating between the majesty of the Greco-Byzantine tradition and the modernity predicted by Giotto, Early Italian Painting addresses the first important aesthetic movement that would lead to the Renaissance, the Italian Primitives. Trying new mediums and techniques, these revolutionary artists no longer painted frescoes on walls, but created the first mobile paintings on wooden panels. The visages of the figures  続きを読む
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ジャンル/形式: Electronic books
その他のフォーマット: Print version:
Crowe, J. A. (Joseph Archer), 1825-1896.
Early Italian painting.
New York : Parkstone Press International, c2011
(DLC) 2011033708
(OCoLC)644683471
資料の種類: Document, インターネット資料
ドキュメントの種類: インターネットリソース, コンピューターファイル
すべての著者/寄与者: J A Crowe; G B Cavalcaselle; Jameson, Mrs.
ISBN: 9781780428055 1780428057
OCLC No.: 777401484
注記: "The following passages originally constituted sections of two books ... both written in 1864-one by Anna Jameson and the other by Giovanni Cavalcaselle and Arthur Crowe"--Note from the editor.
Includes index.
物理形態: 1 online resource (199 p.) : col. ill.
コンテンツ: Introduction : Something about pictures and painters --
Revival of art in Siena --
Fundamental difference between Sienese and Florentine art --
Early Christianity and art --
Memoirs of the early Italian painters. Guido da Siena --
Giovanni Cimabue --
Cimabue and the Ruccelai Madonna --
Duccio di Buoninsegna --
Ugolino di Nerio --
Segna di Bonaventura --
Giotto di Bondone --
Pietro Cavallini --
The Campo Santo --
Andrea Orcagna --
Taddeo Gaddi --
Simone Martini (Simone Memmi) --
Conclusion.
シリーズタイトル: Art of century collection.
責任者: Joseph Archer Crowe & Giovanni Battista Cavalcaselle, Anna Jameson.

概要:

Oscillating between the majesty of the Greco-Byzantine tradition and the modernity predicted by Giotto, Early Italian Painting addresses the first important aesthetic movement that would lead to the Renaissance, the Italian Primitives. Trying new mediums and techniques, these revolutionary artists no longer painted frescoes on walls, but created the first mobile paintings on wooden panels. The visages of the figures were painted to shock the spectator in order to emphasise the divinity of the character being represented. The bright gold leafed backgrounds were used to highlight the godliness o

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