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Early Italian Art (Art of Century…

Early Italian Art (Art of Century Collection)

by Joseph Archer Crowe, G. B. Cavalcaselle, Mrs. Jameson

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Recently added byGalenWiley, alsweeney, brs



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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 frescos on walls, but created the first mobile paintings on wooden panels. The faces 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 of the subject. The elegance of both line and colour were combined to reinforce specific symbolic choices. Ultimately the Early Italian artists wished to make the invisible visible. In this magnificent book, the authors emphasise the importance that the rivalry between the Sienese and Florentine schools played in the evolution of art history. The reader will discover how the sacred began to take a more human form through these forgotten masterworks, opening a discrete but definitive door through the use of anthropomorphism, a technique that would be cherished by the Renaissance.
  GalenWiley | Apr 22, 2015 |
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Author nameRoleType of authorWork?Status
Joseph Archer Croweprimary authorall editionsconfirmed
Cavalcaselle, G. B.main authorall editionsconfirmed
Jameson, Mrs.main authorall editionsconfirmed
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"Vacillating between the majesty of the Greco-Byzantine heritage and the modernity forecasted by Giotto, Early Italian painting summarises the first steps that lead to the Renaissance. Trying out new mediums, those first artists left frescoes for removable panels. If the sacred faces shock us novices, this distance was more than wanted during this era and in order to emphasize the divinity of the characters, it highlighted their divinity comforted the sanctified with a background covered with gold leaves. The elegance of the line and the colour choice was combined to reinforce the symbolic choices. The half-confessed ultimate goal of the Early Italians artists was to make the invisible... visible. In this magnificent book, the author emphasizes the importance that the rivalry between the Siennese and Florentine schools played for the evolution of art history. And the reader, in the course of these forgotten masterworks, will discover how, little by little, the sacred became incarnate and more human... opening a discrete but definitive door through the use of anthropomorphism, as was cherished by the Renaissance."--Publisher's description.… (more)

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