Early Italian Painting
(eBook)

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Published
Parkstone International, 2012.
Format
eBook
ISBN
9781780428055
Status
Available Online

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Language
English

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Citations

APA Citation, 7th Edition (style guide)

Joseph Archer Crowe., Joseph Archer Crowe|AUTHOR., Giovanni Battista Cavalcaselle|AUTHOR., & Anna Jameson|AUTHOR. (2012). Early Italian Painting . Parkstone International.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Joseph Archer Crowe et al.. 2012. Early Italian Painting. Parkstone International.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Joseph Archer Crowe et al.. Early Italian Painting Parkstone International, 2012.

MLA Citation, 9th Edition (style guide)

Joseph Archer Crowe, Joseph Archer Crowe|AUTHOR, Giovanni Battista Cavalcaselle|AUTHOR, and Anna Jameson|AUTHOR. Early Italian Painting Parkstone International, 2012.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work ID2fdf3944-289b-7a24-0c07-14454c05fe1a-eng
Full titleearly italian painting
Authorcrowe joseph archer
Grouping Categorybook
Last Update2024-02-03 17:07:00PM
Last Indexed2024-03-27 02:37:56AM

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First LoadedSep 2, 2022
Last UsedMar 3, 2024

Hoopla Extract Information

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    [synopsis] => 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.
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