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:
112. Francesco di Giorgio Martini, 1439–1501, Italian, A Fortified City, date unknown. Pen and ink on paper. Chigi Saracini collection, Siena. Early Renaissance.
113. Leonardo da Vinci, 1452–1519, Italian, Profile of a Child, c. 1495–1500. Red chalk on paper, 10 × 10 cm. Royal Collection Trust, London. High Renaissance.
114. Francesco di Giorgio Martini, 1439–1501, Italian, Design for a Wall Monument, c. 1490. Pen and brown ink, brush and brown wash, blue gouache on vellum, 18.4 × 18.4 cm. The Metropolitan Museum of Art, New York. Early Renaissance.
115. Jean Perréal, c. 1455–1530, French, Portrait of Philippe de la Platière (1465–1499), 1495. Silverpoint on paper. Musée Condé, Chantilly. Early Renaissance.
116. Andrea Mantegna, 1430/1431-1506, Italian, Hercules and Antaeus, c. 1490–1500. Pen and ink on paper, 24.6 × 18.4 cm. Galleria degli Uffizi, Florence. Early Renaissance.
117. Andrea Mantegna, 1430/1431-1506, Italian, Judith, 1491. Pen, ink, brown wash and white lead on paper, 39 × 25.8 cm. Galleria degli Uffizi, Florence. Early Renaissance.
118. Andrea Mantegna, 1430/1431-1506, Italian, Copy of a Figure from “The Death of the Virgin”, c. 1492. Metalpoint, pen and ink, brown and grey watercolour and white lead on paper, 32.3 × 10.4 cm. Galleria degli Uffizi, Florence. Early Renaissance.
119. Leonardo da Vinci, 1452–1519, Italian, Caricature of a Man with Bushy Hair (detail), c. 1495. Pen and brown ink, 6.6 × 5.4 cm. J. Paul Getty Museum, Los Angeles. High Renaissance.
120. Leonardo da Vinci, 1452–1519, Italian, A Man Tricked by Gypsies, c. 1493. Pen and ink on paper, 26 × 20.6 cm. Royal Collection Trust, London. High Renaissance.
121. Leonardo da Vinci, 1452–1519, Italian, Study of an Apostle, 1493–1495. Silverpoint, pen and brown ink on blue prepared paper, 14.6 × 11.3 cm. Albertina, Vienna. High Renaissance.
122. Albrecht Dürer, 1471–1528, German, Study of Christ Child, 1495. Pen and black ink on paper, 17.2 × 21.5 cm. Musée du Louvre, Paris. Northern Renaissance.
123. Vittore Carpaccio, 1460/1466?-1525/1526, Italian, Study for The Dream of Saint Ursula, c. 1495. Pen, ink and highlights on paper, 10.2 × 11 cm. Galleria degli Uffizi, Florence. High Renaissance.
VITTORE CARPACCIO
(Venice, 1460/1466?-1525/1526)
Carpaccio was a Venetian painter strongly influenced by Gentile Bellini. The distinguishing characteristics of his work are his taste for fantasy and anecdote and his eye for minutely observed crowd details. After completing the cycles of scenes from the lives of St Ursula, St George and St Jerome, his career declined and he remained forgotten until the 19th century. He is now seen as one of the outstanding Venetian painters of his generation.
124. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445–1510, Italian, Nativity, c. 1495. Black pencil, pen and ink, white lead, brown wash on paper, 16 × 25.7 cm. Galleria degli Uffizi, Florence. Early Renaissance.
125. Leonardo da Vinci, 1452–1519, Italian, The Virgin and Child with Saint Anne and the Infant Saint John the Baptist, c. 1499–1500. Charcoal heightened with white on paper on canvas, 141.5 × 104.6 cm. National Gallery, London. High Renaissance.
126. Perugino (Pietro di Cristoforo Vannucci), c. 1450–1523, Italian, Christ Rescuing St. Bernard from the Cross, 1493–1496. Sinopia. Santa Maria Maddalena dei Pazzi, Florence. Early Renaissance.
127. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445–1510, Italian, Saint Jerome, c. 1495. Silverpoint, white lead and black pencil on paper, 24.6 × 12.7 cm. Galleria degli Uffizi, Florence. Early Renaissance.
16th Century
128. Luca Signorelli, c. 1440–1523, Italian, Head of a Woman, date unknown. Pencil on paper. Galleria degli Uffizi, Florence. Early Renaissance.
If Alberti was the first theorist of Renaissance art, Giorgio Vasari was its first historian. His Le vite de’ più eccellenti pittori, scultori e architettori (Lives of the Most Excellent Painters, Sculptors, and Architects) is considered by many to be the first important book of Art History. His treatise brings together the biographies of major Italian artists from Cimabue to the mid-16th century. In the introduction, Vasari verses on the techniques of the arts, among which drawing is granted a central role. Harsh debates aroused in Vasari’s time and during the following centuries between the defenders of drawing and colour, who argued over which of the two played a more important part in painting. In the text which has been selected, Vasari argues that drawing is not only fundamental for painting, but also for the other arts:
“Seeing that Design, the parent of our three arts, Architecture, Sculpture, and Painting, having its origin in the intellect, draws out from many single things a general judgment, […] we may conclude that design is not other than a visible expression and declaration of our inner conception and of that which others have imagined and given form to in their idea. And from this, perhaps, arose the proverb among the ancients ‘ex ungue leonem‘ when a certain clever person, seeing carved in a stone block the claw only of a lion, apprehended in his mind from its size and form all the parts of the animal and then the whole together, just as if he had had it present before his eyes. […]
“But let this be as it may, what design needs, when it has derived from the judgment the mental image of anything, is that the hand, through the study and practice of many years, may be free and apt to draw and to express correctly, with the pen, the silverpoint, the charcoal, the chalk, or other instrument, whatever nature has created. For when the intellect puts forth refined and judicious conceptions, the hand which has practised design for many years, exhibits the perfection and excellence of the arts as well as the knowledge of the artist. […]
“The masters who practise these arts have named or distinguished the various kinds of design according to the description of the drawing which they make. Those which are touched lightly and just indicated with the pen or other instrument are called sketches, as shall be explained in another place. Those, again, СКАЧАТЬ