LEADER 03842oam 2200649 a 450 001 9910779046903321 005 20231120192057.0 010 $a1-283-95225-4 010 $a1-78042-805-7 035 $a(CKB)2550000000089401 035 $a(EBL)886887 035 $a(OCoLC)777401484 035 $a(SSID)ssj0000634468 035 $a(PQKBManifestationID)12220776 035 $a(PQKBTitleCode)TC0000634468 035 $a(PQKBWorkID)10641018 035 $a(PQKB)10002693 035 $a(Au-PeEL)EBL886887 035 $a(CaPaEBR)ebr10532469 035 $a(CaONFJC)MIL426475 035 $a(MiAaPQ)EBC886887 035 $a(PPN)19727899X 035 $a(EXLCZ)992550000000089401 100 $a20110809h20112011 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aEarly Italian painting /$fJoseph Archer Crowe & Giovanni Battista Cavalcaselle, Anna Jameson 210 1$aNew York :$cParkstone Press International,$d2011. 210 4$dİ2011 215 $a1 online resource (199 pages) $ccolor illustrations 225 1 $aArt of century collection 300 $a"The following passages originally constituted sections of two books ... both written in 1864-one by Anna Jameson and the other by Giovanni Cavalcaselle and Arthur Crowe"--Note from the editor. 300 $aIncludes index. 311 0 $a1-84484-848-5 327 $aIntroduction : Something about pictures and painters -- Revival of art in Siena -- Fundamental difference between Sienese and Florentine art -- Early Christianity and art -- Memoirs of the early Italian painters. Guido da Siena -- Giovanni Cimabue -- Cimabue and the Ruccelai Madonna -- Duccio di Buoninsegna -- Ugolino di Nerio --Segna di Bonaventura -- Giotto di Bondone -- Pietro Cavallini -- The Campo Santo -- Andrea Orcagna -- Taddeo Gaddi -- Simone Martini (Simone Memmi) -- Conclusion. 330 $a"Vacillating between the majesty of the Greco-Byzantine heritage and the modernity forecasted by Giotto, Early Italian painting summarises the first steps that led to the Renaissance. Trying out new media, those first artists left frescoes for removable panels. If the sacred faces shock us novices, this distance was more than wanted during this era and in order to emphasise the divinity of the characters; it highlighted their divinity and comforted the sanctified with a background covered with gold leaves. The elegance of the line and the colour choice was combined to reinforce the symbolic choices. The half-confessed ultimate goal of the early Italian artists was to make the invisible ... visible. In this magnificent book, the author emphasises the importance that the rivalry between the Siennese and Florentine schools played for the evolution of art history. And the reader, in the course of these forgotten masterworks, will discover how, little by little, the sacred became incarnate and more human ... opening a discrete but definitive door through the use of anthropomorphism, as was cherished by the Renaissance."-- Publisher's website 410 0$aArt of century collection. 606 $aPainting, Italian 606 $aPainting, Medieval$zItaly 615 0$aPainting, Italian. 615 0$aPainting, Medieval 676 $a759.5 700 $aCrowe$b J. A$g(Joseph Archer),$f1825-1896.$0207127 701 $aCavalcaselle$b G. B$g(Giovanni Battista),$f1819-1897.$0156805 701 $aJameson$cMrs.$g(Anna),$f1794-1860.$01546237 701 $aCrowe$b J. A$g(Joseph Archer),$f1825-1896.$0207127 701 $aJameson$cMrs.$g(Anna),$f1794-1860.$01546237 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910779046903321 996 $aEarly Italian painting$93801670 997 $aUNINA