1000 Drawings of Genius. Victoria Charles
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Название: 1000 Drawings of Genius
Автор: Victoria Charles
Издательство: Parkstone International Publishing
Жанр: Энциклопедии
Серия: The Book
isbn: 978-1-78310-949-4, 978-1-78310-457-4
isbn:
98. Albrecht Dürer, 1471–1528, German, Albrecht Dürer the Elder, 1486. Silverpoint on paper, 28.4 × 21.2 cm. Albertina, Vienna. Northern Renaissance.
99. Domenico Ghirlandaio (Domenico Bigordi), 1448/1449-1494, Italian, Two Standing Women, c. 1485. Pen on watermarked white paper, 26 × 16.9 cm. Galleria degli Uffizi, Florence. Early Renaissance.
100. Albrecht Dürer, 1471–1528, German, Self-Portrait as a Thirteen-Year-Old, 1484. Silverpoint on paper, 27.3 × 19.6 cm. Albertina, Vienna. Northern Renaissance.
101. Antonio del Pollaiuolo, c. 1432–1498, Italian, Three Nude Men, 1486. Pen and brown ink, brown wash on paper, 26.5 × 35.7 cm. Musée du Louvre, Paris. Early Renaissance.
102. Andrea Mantegna, 1430/1431-1506, Italian, Emperor Trajan in the Battle Against the Dacians, after 1488–1489. Chalk and pen, 27.2 × 19.8 cm. Albertina, Vienna. Early Renaissance.
ANDREA MANTEGNA
(Isola di Carturo, 1430/1431 – Mantua, 1506)
Mantegna; humanist, geometrist, archaeologist, of great scholastic and imaginative intelligence, dominated the whole of northern Italy by virtue of his imperious personality. Aiming at optical illusion, he mastered perspective. He trained in painting at the Padua School that Donatello and Paolo Uccello had previously attended. Even at a young age, commissions for Andrea’s work flooded in, for example the frescos of the Ovetari Chapel of Padua.
In a short space of time, Mantegna found his niche as a modernist due to his highly original ideas and the use of perspective in his works. His marriage with Nicolosia Bellini, the sister of Giovanni, paved the way for his entrée into Venice.
Mantegna reached an artistic maturity with his Pala San Zeno. He remained in Mantova and became the artist for one of the most prestigious courts in Italy – the Court of Gonzaga. Classical art was born.
Despite his links with Bellini and Leonardo da Vinci, Mantegna refused to adopt their innovative use of colour or leave behind his own technique of engraving.
103. Leonardo da Vinci, 1452–1519, Italian, The Vitruvian Man, c. 1490–1492. Pen and ink on paper, 34.3 × 24.5 cm. Galleria dell’Accademia, Venice. High Renaissance.
104. Leonardo da Vinci, 1452–1519, Italian, Propulsion Flying Machine, 1487–1508. Pen on white paper. Bibliothèque de l’Institut, Paris. High Renaissance.
105. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445–1510, Italian, An Angel, c. 1490. Chalk, pen and wash heightened with white on paper, 26.6 × 16.5 cm. Galleria degli Uffizi, Florence. Early Renaissance.
106. Perugino (Pietro di Cristoforo Vannucci), c. 1450–1523, Italian, Landscape, 1489–1490. Brush and brown wash, highlighted with white gouache on grey-green prepared paper, 20.4 × 28 cm. The Metropolitan Museum of Art, New York. Early Renaissance.
PERUGINO (Pietro di Cristoforo Vannucci)
(Citta della Pieve, c. 1450 – Fontignano, 1523)
Perugino’s art, like Fra Angelico’s, had its roots in the old Byzantine tradition of painting. The latter had departed further and further from any representation of the human form, until it became merely a symbol of religious ideas. Perugino, working under the influence of his time, restored body and substance to the figures, but still made them, as of old, primarily the symbols of an ideal. It was not until the 17th century that artists began to paint landscape for its own sake.
However, the union of landscape and figures counts very much for Perugino, because one of the secrets of composition is the balancing of what artists call the full and empty spaces. A composition crowded with figures is apt to produce a sensation of stuffiness and fatigue; whereas the combination of a few figures with ample open spaces gives one a sense of exhilaration and repose. It is in the degree to which an artist stimulates our imagination through our physical experiences that he seizes and holds our interest. When Perugino left Perugia to complete his education in Florence he was a fellow pupil of Leonardo da Vinci in the sculptor’s bottegha. If he gained from the master something of the calm of sculpture, he certainly gained nothing of its force. It is as the painter of sentiment that he excelled, though this beautiful quality is confined mainly to his earlier works. For with popularity he became avaricious, turning out repetitions of his favourite themes until they became more and more affected in sentiment.
107. Benozzo Gozzoli, c. 1420–1497, Italian, Scenes of the Life of Saint Joachim, c. 1490. Sinopia. Cappella della Visitazione, Castelfiorentino (Florence). Early Renaissance.
108. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445–1510, Italian, Pallas Athena, c. 1490–1500. Pen and ink on paper, 18.9 × 8.7 cm. Biblioteca Ambrosiana, Milan. Early Renaissance.
109. Giovanni Bellini, c. 1430–1516, Italian, Standing Saint, date unknown. Pen, black pencil, brown wash and white lead on paper, 41 × 20 cm. Galleria degli Uffizi, Florence. Early Renaissance.
GIOVANNI BELLINI
(Venice, c. 1430–1516)
Giovanni Bellini was the son of Jacopo Bellini, a Venetian painter who was settled in Padua when Giovanni and his elder brother, Gentile, were in their period of studentship. Here, they came under the influence of Mantegna, who was also bound to them by ties of relationship, since he married their sister. To his brother-in-law, Bellini owed much of his knowledge of classical architecture and perspective, and his broad and sculptural treatment of draperies. Sculpture and the love of the antique played a large part in Giovanni’s early impressions, and left their mark in the stately dignity of his later style. This developed slowly during his long life. Bellini died of old age, indeed in his eighty-eighth year, and was buried near his brother, Gentile, in the Church of Ss. Giovanni e Paulo. Outside, under the spacious vault of heaven, stands the Bartolommeo Colleoni, Verrocchio’s monumental statue, which had been among the elevating influences of Bellini’s life and art. After filling the whole of the north of Italy with his influence, he prepared the way for the giant colourists of the Venetian School, Giorgione, Titian, and Veronese.
110. Giovanni Bellini, c. 1430–1516, Italian, Head of a Man with a Turban, c. 1490–1500. Pen, brown wash, white lead and black pencil on paper, 22.6 × 18.7 cm. Galleria degli Uffizi, Florence. Early Renaissance.