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:
41. Andrea Mantegna, 1430/1431-1506, Italian, Faun Attacking a Snake, 1446–1506. Pen and ink on paper, 29 × 17.2 cm. British Museum, London. Early Renaissance.
42. Pisanello (Antonio Pisano), c. 1395–1455, Italian, Tournament, c. 1440–1450. Sinopia. Museo di Palazzo Ducale, Mantua. Early Renaissance.
43. Andrea del Castagno (Andrea di Bartolo di Bargilla), before 1419–1457, Italian, Christ in the Sepulchre with Two Angels, 1447. Sinopia. Sant’Apollonia, Florence. Early Renaissance.
ANDREA DEL CASTAGNO
(Andrea di Bartolo di Bargilla)
(Castagno, before 1419 – Florence, 1457)
An Italian painter of the Florentine school, Andrea del Castagno was born in Castagno, in the district of Mugello. He followed the naturalism of Masaccio and made use of scientific perspective, gaining wide recognition for his monumental frescoes for the convent of Sant’Apollonia in Florence. These included a Last Supper and three scenes from the Passion of Christ. Another of his principle works (many of them have disappeared) was the equestrian figure of Nicola di Tolentino, in the cathedral of Florence. Castagno added to the Renaissance’s illusionism a strong expressive realism that was influenced by the sculptures of Donatello. He, in turn, would prove influential for succeding generations.
For four centuries, Castagno’s name was burdened with the henious charge of murder. It was said that he had treacherously assasinated his colleague, Domenico Veneziano, in order to monopolise the then-recent secret of oil painting as practised in Flanders by the Van Eycks. This charge was, however, proved to be untrue, as Domenico died four years after Andrea.
44. Pisanello (Antonio Pisano), c. 1395–1455, Italian, A Gentleman and a Lady in Court Clothes, c. 1433–1438. Silverpoint and watercolour, 27.2 × 19.3 cm. Musée Condé, Chantilly. Early Renaissance.
45. Benozzo Gozzoli, c. 1420–1497, Italian, St. Laurent with the Virgin and Child and Two Putti, 1450–1460. Pen and brush, 22.8 × 16.2 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.
46. Andrea del Castagno (Andrea di Bartolo di Bargilla), before 1419–1457, Italian, The Vision of St. Jerome, 1447. Sinopia. Santissima Annunziata, Florence. Early Renaissance.
47. Follower of Rogier van der Weyden (c. 1399–1464), Flemish, Louis, Duke of Savoy, c. 1460–1470. Silverpoint on paper, 20.4 × 12.8 cm. Museum Boijmans Van Beuningen, Rotterdam. Northern Renaissance.
48. Paolo Uccello (Paolo di Dono), 1397–1475, Italian, Study for a Chalice, c. 1450–1470. Pen and brown ink, 24 × 9 cm. Galleria degli Uffizi, Florence. Early Renaissance.
49. Rogier van der Weyden, c. 1399–1464, Flemish, Head of the Virgin, date unknown. Silverpoint on white prepared paper, 12.9 × 11.1 cm. Musée du Louvre, Paris. Northern Renaissance.
ROGIER VAN DER WEYDEN
(Tournai, c. 1399 – Brussels, 1464)
He lived in Brussels, where he was the city’s official painter (from 1436), but his influence was felt throughout Europe. One sponsor was Philip the Good, an avid collector. Van der Weyden is the only Fleming who truly carried on van Eyck’s great conception of art. He added to it a pathos of which there is no other example in his country except, though with less power and nobility, that of Hugo van der Goes towards the end of the century. He had a considerable influence on the art of Flanders and Germany. Hans Memling was his most renowned pupil. Van der Weyden was the last inheritor of the Giottesque tradition and the last of the painters whose work is thoroughly religious.
50. School of Fra Angelico (c. 1395–1455), Italian, Christ among the Doctors, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.8 × 6 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.
51. School of Fra Angelico (c. 1395–1455), Italian, Christ Washing the Feet of the Apostles, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.8 × 6 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.
52. School of Fra Angelico (c. 1395–1455), Italian, The Last Supper, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.7 × 5.9 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.
53. School of Fra Angelico (c. 1395–1455), Italian, Christ in the Garden of Gethsemane, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.5 × 6 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.
54. School of Fra Angelico (c. 1395–1455), Italian, The Capture of Christ, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.6 × 5.9 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.
55. School of Fra Angelico (c. 1395–1455), Italian, Pilate Washing His Hands, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 8 × 6 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Early Renaissance.
56. School of Fra Angelico (c. 1395–1455), Italian, The Crucifixion, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 8 × 6.3 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Early Renaissance.
57. School of Fra Angelico (c. 1395–1455), Italian, The Lamentation, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 8 × 6.3 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.
58. Filippo Lippi, 1406–1469, Italian, Seated Monk, c. 1450–1460. Metalpoint, watercolour and white lead on blue paper, 29.6 × СКАЧАТЬ