Category: History - European
The Florentine ideal of Mass and Emotion—Its Humanism—The City of Florence about 1300—The Position and Methods of the Painter—The General demand for Religious Painting—Accelerated by the religious reforms of 1200, and changed in character—Insufficiency of the current Italo-Byz...
The Florentine ideal of Mass and Emotion—Its Humanism—The City of Florence about 1300—The Position and Methods of the Painter—The General demand for Religious Painting—Accelerat...
2. CHAPTER IIOn the Romantic instability of Siena—Fidelity to Byzantine Ideals—Guido, Coppo, the Master of the Altar-front of St. Peter—Duccio and his great Majesty of the Madonna—His twofol...
3. CHAPTER IIIGhiberti, Brunellesco, and Donatello about 1400 begin to study Nature and the Antique—The new secular spirit—Discontent with the old pictorial style expressed in reaction by Lor...
4. CHAPTER IVAfter Masaccio two tendencies,—towards prettiness and vivacious narrative; towards strenuous research—Fra Filippo Lippi celebrant of Gay Florence—Benozzo Gozzoli and Pageantry—A...
5. CHAPTER VLeonardo da Vinci as assimilator of the Realistic reforms—Botticelli as reactionary—His beginnings under Fra Filippo and Pollaiuolo—Height of his realistic achievement in Adorat...
6. CHAPTER VIOn pride and humility in Art—The new Grand Style defined—Umbrian humility in the Early Painters—Gentile da Fabriano—The Fifteenth Century—Luca Signorelli—Perugino—Raphael; Early...
7. CHAPTER VIIOn the splendor of Venice—Italo-Byzantine painters of the 14th Century—Paduan, Veronese, and Umbrian Painters at Venice—Jacopo Bellini—Squarcione’s school at Padua, Carlo Crivel...
8. CHAPTER VIIITitian before 1545—Some contemporaries, Sebastiano del Piombo, Palma Vecchio—The advent of Modern Sensitiveness in Lorenzo Lotto—Moretto of Brescia—Correggio—Titian’s last Manne...
9. CHAPTER IXThe Confusion following Raphael and Michelangelo—Giulio Romano—Caravaggio and realistic Revolt—Salvator Rosa, romantic Individualism and the Picturesque—The Carracci and the Ecl...
10. CHAPTER I.For the Byzantine pictorial style see the excellent summary in _Fogg Art Museum, Collection of Mediaeval and Renaissance Paintings_, Harvard Univ. Press, 1919, pp. 3–10; also a...
11. CHAPTER II.—SIENALangton Douglas. _A History of Siena._ New York, 1902. Ferdinand Schevill. _Siena, the Story of a Mediæval Commune_, New York, 1909. Edmund G. Gardiner. _The Story of Siena and...
12. CHAPTER III.—MASACCIO AND THE NEW REALISMOn the general matter of the realists of the Early Renaissance not much has been added to Crowe and Cavalcaselle, but Mr. Berenson’s comment in _Florentine Painters_ and _Centra...
13. CHAPTER IV.—FRA FILIPPO LIPPI AND THE NEW NARRATIVE STYLE_Francesco Pesellino._ Consult Dr. W. Weisbach’s able and beautifully illustrated work, _Francesco Pesellino und die Romantik der Frührenaissance_, Berlin, 1901. For cuts of _Ca...
14. CHAPTER V.—BOTTICELLI AND LEONARDO DA VINCI_Botticelli._ The standard work is Herbert P. Horne, _Sandro Botticelli_, London, 1908. A little additional information may be found in Crowe and Cavalcaselle, _A History of Pai...
15. CHAPTER VI.THE HIGH RENAISSANCE. The indispensable books are, for leading ideas, J. C. Burckhardt, _Civilization of the Renaissance in Italy_, New York, 1890; for the stylistic development...
16. CHAPTER VII.—EARLY VENETIAN PAINTINGLittle literature of a general sort is available to the English speaking reader. Crowe and Cavalcaselle, _A History of Painting in Northern Italy_, admirably edited by Tancred B...
17. CHAPTER VIII.—TITIAN AND THE VENETIAN RENAISSANCEOn the Venetian Renaissance in general we have the works cited at the head of Notes for Chapter VII and for biographies and lists D. V. Hadeln, new ed. Ridolfi, _Le Maraviglie d...
18. CHAPTER IX.—THE REALISTS AND ECLECTICSOn this period there is little available literature in English, but there are excellent sketches of most of the artists treated in this chapter in C. Ricci, _Art in Northern Ita...