By John C Van Dyke L H D
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For a few years English-language scholarship on past due medieval and early glossy Italy used to be principally ruled via paintings on Florence—as a urban, tradition, and monetary and political entity. prior to now few many years, in spite of the fact that, scholarship has moved well past the “Florentine version” to discover the range of Italian city and provincial life—the “many Italies” that stretched from the Apennines to the Mediterranean.
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Poebene und herrliche obvious wie der Lago Maggiore geben dem Piemont und dem angrenzenden Aostatal einen unverwechselbaren Charakter. In dem Reisehandbuch Piemont & Aostatal finden sich auf über four hundred Seiten detaillierte Infos zu den kulturgeschichtlichen Highlights sowie kulinarische Exkurse und Hinweise zu Land und Leuten.
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Extra info for A Text Book of the History of Painting
Cimabue was simply a man of more originality and ability than his contemporaries, and departed further from the art teachings of the time without decidedly opposing them. He retained the Byzantine pattern, but loosened the lines of drapery somewhat, turned the head to one side, infused the figure with a little appearance of life. His contemporaries elsewhere in Italy were doing the same thing, and none of them was any more than a link in the progressive chain. FIG. —ORCAGNA, PARADISE (DETAIL). S.
EARLY RENAISSANCE—1400-1500—CONTINUED. ) PADUAN SCHOOL: It was at Padua in the north that the influence of the classic marbles made itself strongly apparent. Umbria remained true to the religious sentiment, Florence engaged itself largely with nature study and technical problems, introducing here and there draperies and poses that showed knowledge of ancient sculpture, but at Padua much of the classic in drapery, figures, and architecture seems to have been taken directly from the rediscovered antique or the modern bronze.
This is true of Fra Angelico. Though he lived far into the Early Renaissance he did not change his style and manner of work in conformity with the work of others about him. He was the last inheritor of the Giottesque traditions. Religious sentiment was the strong feature of his art. He was behind Giotto and Lorenzetti in power and in imagination, and behind Orcagna as a painter. He knew little of light, shade, perspective, and color, and in characterization was feeble, except in some late work.