Author: Joseph Archer CrowePublisher:
ISBN:
Category : Painting
Languages : en
Pages : 700
Book Description
A New History of Painting in Italy
Author: Joseph Archer CrowePublisher:
ISBN:
Category : Painting
Languages : en
Pages : 700
Book Description
A new history of painting in Italy from the second to the sixteenth century, by J.A. Crowe and G.B. Cavalcaselle
Author: sir Joseph Archer CrowePublisher:
ISBN:
Category :
Languages : en
Pages : 784
Book Description
A New History of Painting in Italy
Author: Joseph Archer CrowePublisher:
ISBN:
Category : Art, Gothic
Languages : en
Pages : 598
Book Description
A New History of Painting in Italy, from the II to the Xvi Century
Author: Joseph Archer CrowePublisher: General Books
ISBN: 9781458994639
Category :
Languages : en
Pages : 526
Book Description
Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CHARTER III LIPPO MEMMI. BARNA AND LUCA DI TOMti The companionship of Lippo and Simone clearly dates from a time antecedent to that which brought them into relationship by the marriage of the latter. Lippo was born at Siena, i and though he was at times content to take upon himself the mechanical portion of Simone's altarpieces, he was not the less an artist of the same school as his brother-in-law. They had a common workshop at Siena, yet they frequently undertook separate commissions; the most important of which to Lippo seems to have been that of 1317 for the adornment of the Palazzo del Podesta at S. Gimignano. Sixteen years before, Dante, as envoy of the Florentine republic, had solicited in the very hall which Lippo came to adorn, the aid of S. Gimignano in favour of the Tuscan league. The same Podesta who now employed Lippo had promised that aid to Florence; and now that peace had succeeded to long years of strife, Mino, of the Tolomei of Siena, sought to rival the magnificence of his countrymen by adorning the hall of Justice at S. Gimignano with a Majesty similar to that of Simone. Lippo decorated the wall of the council-room with a fresco whose spirit and composition very much resembled those of his future relative. He depicted on an area of one hundred and seventy-five feet2 the Virgin and Child amidst twenty-eight angels and saints, prominent amongst whom S. Nicholas introduces the kneeling Mino de' Tolomei.' A red and blue striped dress encloses the form of the Podesta and warms him with its fur lining. Red socks in black shoes, dark hair in a net, i See postca, tho signature of a picture by him at Orvioto which attests this fact. 2 27 feet by 0 feet 6 inches. a With the following words inscribed on a scroll in his left hand: ? SALVE, REOINA MUNDI...
A History of Painting in Italy, Umbria, Florence and Siena, from the Second to the Sixteenth Century: Early Christian art
Author: Joseph Archer CrowePublisher:
ISBN:
Category : Painting
Languages : en
Pages : 354
Book Description
The History of Painting in Italy, from the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
Author: Luigi LanziPublisher:
ISBN:
Category : Painting
Languages : en
Pages : 344
Book Description
The History of Painting in Italy: The indexes
Author: Luigi Antonio LanziPublisher:
ISBN:
Category : Painting
Languages : en
Pages : 230
Book Description
The History of Painting in Italy: The schools of Bologna, Ferrara, Genoa, and piedmont, with indexes
Author: Luigi Antonio LanziPublisher:
ISBN:
Category : Painting
Languages : en
Pages : 508
Book Description
The History of Painting in Italy, from the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
Author: Luigi Antonio LanziPublisher:
ISBN:
Category : Painting
Languages : en
Pages : 746
Book Description
The History of Painting in Italy
Author: Luigi LanziPublisher:
ISBN:
Category :
Languages : en
Pages : 212
Book Description
I have frequently heard the lovers of art express a doubt whether the Roman School possesses the same inherent right to that distinctive appellation as the schools of Florence, Bologna, and Venice. Those of the latter cities were, indeed, founded by their respective citizens, and supported through a long course of ages; while the Roman School, it may be said, could boast only of Giulio Romano and Sacchi, and a few others, natives of Rome, who taught, and left scholars there. The other artists who flourished there were either natives of the cities of the Roman state, or from other parts of Italy, some of whom established themselves in Rome, and others, after the close of their labours there, returned and died in their native places. But this question is, if I mistake not, rather a dispute of words than of things, and similar to those objections advanced by the peripatetic sophists against the modern philosophy; insisting that they abuse the meaning of their words, and quoting, as an example, the vis inertiæ; as if that, which is in itself inert, could possess the quality of force. The moderns laugh at this difficulty, and coolly reply that, if the vis displeased them, they might substitute natura, or any other equivalent word; and that it was lost time to dispute about words, and neglect things. So it may be said in this case; they who disapprove of the designation of school, may substitute that of academy, or any other term denoting a place where the art of painting is professed and taught. And, as the learned universities always derive their names from the city where they are established, as the university of Padua or Pisa, although the professors may be all, or in great part, from other states, so it is with the schools of painting, to which the name of the country is always attached, in preference to that of the master. In Vasari we do not find this classification of schools, and Monsignor Agucchi was the first to divide Italian art into the schools of Lombardy, Venice, Tuscany, and Rome.[1] He has employed the term of schools after the manner of the ancients, and has thus characterised one of them as the Roman School. He has, perhaps, erred in placing Michel Angiolo, as well as Raphael, at the head of this school, as posterity have assigned him his station as chief of the school of Florence; but he has judged right in classing it under a separate head, possessing, as it does, its own peculiar style; and in this he has been followed by all the modern writers of art. The characteristic feature in the Roman School has been said to consist in a strict imitation of the works of the ancients, not only in sublimity, but also in elegance and selection; and to this we shall add other peculiarities, which will be noticed in their proper place.