By Michael Levey
“From Giotto to Cezanne: A Concise heritage of portray Michael Levey. 549 colour illustrations. «Outstanding...accurate, loose from prejudice, regularly neat, usually stimulating. No greater creation to Western portray has eve been produced.» (The Sunday Times). « combining critical scholorship with a presentation uncomplicated adequate to curiosity the overall reader and utilizing a typical of replica more than enough to make the end result either an highbrow and a cultured pleasure.» ( the Burlington magazine).
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Extra resources for A Concise History of Painting, from Giotto to Cézanne
Stillness of the moment again and again in Piero lifts the scene outside time and it is this fourth dimension that he seems also to explore (pi. 66). Forever the Baptist pours a bright thread of water over the head of that Christ who, seen fully frontally, seems Despite the archaic, — 64 PlERO DELLA FRANCESCA Madonna of Mercy 65 Piero della Francesca Federigo da Montefeltro *6 66 Piero della Francesca Baptism 47 to grow from the dignity of a tree; ground with the natural and the dove seems to hover eternally in space.
More penetrating realism is apparent in the Birth of St John fresco (pi. 63) by Ghirlandaio Domenico (1449-94), an illustration of contemporary Florentine life, again with Ghirlandaio's real- recognizable portraits. Flemish tinge; not only was he influenced by van der Goes' Portinari altarpiece (cf. pi. i2j), but he had a Flemish ism has a and the unidealised Old man and boy (pi. 61) is part of its tenderness. Ghirlandaio ran an active important studio and was one of the most popular and prolific painters of the day.
Some Flemish others came Along with painters in the person had visited Italy; of their paintings. the classical bronzes, gems and Medici at by the Florence, were Flemish tapestries. From Flanders had come the secret of the new painting in oil. The conditions in the North were very different from those of Italy but there too great painters were at work. manuscripts collected ; 96 62 Carlo Crivelli Annunciation ECCLESIASTIC/ 6} 97 Giovanni Bellini Feast of the Gods is not in sculpture or mosaic that Northern European painting originated but rather in It Meticulous detail remains a typical quality of Northern art until the appearance in the seventeenth century of Rubens.