A Concise History of Painting, from Giotto to Cézanne by Michael Levey
By Michael Levey
“From Giotto to Cezanne: A Concise heritage of portray Michael Levey. 549 colour illustrations. «Outstanding...accurate, loose from prejudice, consistently neat, frequently stimulating. No larger advent to Western portray has eve been produced.» (The Sunday Times). « combining severe scholorship with a presentation easy adequate to curiosity the overall reader and utilising a typical of copy more than enough to make the end result either an highbrow and a cultured pleasure.» ( the Burlington magazine).
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Extra info for A Concise History of Painting, from Giotto to Cézanne
Raises a hand as if to In a later picture, the (pi. ), the now nude Birth of Venus goddess is blown half sadly to land, and must lose her divine nakedness now that she comes among men. If the Primavera is like a tapestry, the Birth of Venus is a bas-relief where light modelling only emphasises the singing line which 5 5 40 Sandro Botticelli Man with a medal traces the air-borne entwined pair of Winds 56 57 Sandro Botticelli Primavera Sandro Botticelli Adoration oj the Kings 4* 5 8 Benozzo Gozzoli about whom Journey of the the pink roses fall, Magi (detail) and the wounded corpse of Christ is collapsed over shrinking arabesque of the lonely Venus poised on her perfectly fluted shell.
Florence seemed to renounce artistic and worldly vanities in the public they bonfires of such things, pictures included. in 1498 it was Savonarola who, at the Pope's request, was publicly burnt. New artistic standards were soon to make the Florentine fifteenth century appear only the dawn of painting. But within its com- But parative security Gozzoli practise a a sort Benozzo painter like 1421-97) (c. of could contentedly harmless decorative most charming in his frescoes of the. Journey of the Magi (pi.
In this provin- Cosimo Tura (before city 1431-95) evolved a style more tortured and fantastic than Mantegna's metallically decorative like the Allegoricalfigure (pi. 82), perhaps Spring, seated on a polished throne of mummified marine creatures, their eyes jewelled like Faberge objects, but with a spiny writhing vitality. The draperies are as if damped and then crinkled, wrapped in complex folds about this figure of almost affected sentiment. Less metallic and more crystalline is the air of the Pieta (pi.