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Early Italian painting

著者: J A Crowe; G B Cavalcaselle; Jameson, Mrs.
出版商: New York : Parkstone Press International, ©2011.
丛书: Art of century collection.
版本/格式:   电子图书 : 文献 : 英语查看所有的版本和格式
数据库:WorldCat
提要:
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  再读一些...
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详细书目

类型/形式: Electronic books
附加的形体格式: Print version:
Crowe, J. A. (Joseph Archer), 1825-1896.
Early Italian painting.
New York : Parkstone Press International, c2011
(DLC) 2011033708
(OCoLC)644683471
材料类型: 文献, 互联网资源
文件类型: 互联网资源, 计算机文档
所有的著者/提供者: J A Crowe; G B Cavalcaselle; Jameson, Mrs.
ISBN: 9781780428055 1780428057
OCLC号码: 777401484
注意: "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.
描述: 1 online resource (199 p.) : col. ill.
内容: 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.
丛书名: Art of century collection.
责任: Joseph Archer Crowe & Giovanni Battista Cavalcaselle, Anna Jameson.

摘要:

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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