By Michael Levey
“From Giotto to Cezanne: A Concise historical past of portray Michael Levey. 549 colour illustrations. «Outstanding...accurate, loose from prejudice, consistently neat, usually stimulating. No greater creation to Western portray has eve been produced.» (The Sunday Times). « combining critical scholorship with a presentation basic sufficient to curiosity the final reader and applying a customary of replica more than enough to make the end result either an highbrow and a classy pleasure.» ( the Burlington magazine).
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Additional info for A Concise History of Painting, from Giotto to Cézanne
A and atmospheric scene presented in the is firmly spatial i Finding of the Crosses (pi. 100), and by the time of the Madonna of Chancellor Rolin (pi. 101) the setting in depth elaboration. patterned The tiles, is of virtuoso eye follows the perspective pierces the pillared arches and over the battlements to the river winding away in sunlight beyond. Throughout the picture's small area everything glows with the intensity of a jewel; the texture of metal, velvet, stone, is conveyed with pregazes Jan van Eyck Madonna of Chancellor Rolin an almost medieval feeling for the quality of each object, and for its symbolic meaning; the Madonna and Child are as solidly realistic as Nicolas Rolin, kneeling suspicious and tight-lipped before cision.
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. Michelangelo's famous if not totally accurately recorded judgment reveals an Italian artist's awareness of the very different standards existing in the North 'In Flanders they paint with a view to exter- illuminated manuscripts.
The cold blues and silver-greys of the Nativity (pi. 6j), tones not to be comparably manipulated again until Vermeer, suggest the sunless early morning before colour has finally returned to things, and yet the outlines are clear. In such a chill world Christ rises in the fresco immediately confronting the spectator on entering the Palazzo Communale at San Far from any of the great culmination of Giotto and Masaccio was achieved. Naturalism is subordinated to significance; Uccello-like, Sepolcro (pi.