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Masters Of Art - The Afterglow Of Greece
NAPLES is not associated in the mind of the traveler with art. Her attractions are her picturesque squalor and the far famed natural beauty of her surroundings.
How Art Became Christian
IT is with varied emotions that the thoughtful traveler enters the Eternal City. There are visions of early struggles and civic virtue, of sudden empire and garish opulence, of dissoluteness fed by the loot of cities and the tribute of subject provinces.
Masters Of Art - The Bursting Of The Bonds
WE have seen that during the latter days of the thirteenth century the angel of the Renaissance troubled the quiet waters of mediæval art. The change was slight in outward effect, but in principle it was revolutionary, and marked the dawn of a new era, the full significance of which we were to learn later.
Masters Of Art - The First Of The Moderns
THE greatest of Cimabue's achievements remains to be recorded, namely his discovery of Giotto. Whether it be true, as we are told, that he found him, a shepherd boy, drawing a picture of a sheep upon a stone, and asked him to come to his studio, we do not know, but it is very like unto the truth.
Masters Of Art - The Larger Vision
ART paid its respects to Giotto by a century of imitation. It was a busy century, and the many votaries of art differed as much in temperament as at any time, but at first sight all these differences seem subordinated to a general sameness, which, once examined, proves to be only a resemblance to Giotto, a resemblance in color, in conception, in manner, in everything but genius.
Masters Of Art - The Protest Of Faith
FROM Cimabue to Masaccio we have traced the evolution of art consistently toward its chosen goal of realism. We have seen its abandonment of mosaic, its surrender of gold and decorative pattern, its relinquishment of symmetry and even of bright color, all in the interest of naturalness.
The Revolt Against The Church
THE protest of Fra Angelico was in vain. The movement which he fain would check was not the movement of an individual or a group. It was the movement of a world. Conditions far beyond the limits of art were undergoing a profound change.
Art - The New Paganism And The Old Faith
FILIPPO LIPPI died in 1469. There was a human generation left in this century which was still to be Florentine. After that, the little city no longer houses the art which she has produced. This generation belongs to two painters, the very antipodes in character, but each significant of the tendencies and limitations of the time — Botticelli and Ghirlandajo.
The Contribution Of Pisa
It is therefore appropriate that the revival of this art should have begun in Pisa. Niccolô Pisano (Nicholas of Pisa) is the acknowledged initiator of the movement. His work is most conveniently studied in his early masterpiece, the Pulpit of Pisa (B 379), an epoch-making work at which the tourist usually casts only a hasty glance on his way to do homage to that unfortunate tower which would be beautiful if only it did not lean.
Ghiberti, The Painter In Bronze
FOR more than half a century, Andrea's doors remained the pride and glory of the Florentines. It was long ere they gathered force for a renewed effort, and then their concern seems to have been to find a man who could worthily duplicate the work of Andrea.
The New Science
WHILE Ghiberti was accomplishing the impossible as a painter in bronze, another sculptor, destined to exert, a far greater influence upon Florentine sculpture, was working out the sculptor's problem in a more normal manner. Donatello can never be long dissociated in thought from Ghiberti.
Leonardo, The Magician Of The Renaissance
By the superstitious in his own day, Leonardo was accounted a magician, and to a more discriminating posterity his achievements still border on the magical.
Umbria And Her Artist
THE traveler from Rome to Florence has his choice of two routes. The one runs fairly directly through Orvieto and Chiusi, old Etruscan strongholds, passing Lake Trasimene on the right, then on into the valley of the Arno to Arezzo and Florence.
Raphael In Rome
WE have thus far known Raphael only in Umbria and in Florence. Born and bred in Umbria and deeply imbued with Umbrian tradition to which his nature was most congenial, his sojourn in Florence did not seriously modify his Umbrian character.
Art In The School Of Lorenzo And Savonarola
AGAIN our quest takes us to Florence, the goal of all inquiry in these later days of art. For long the drama was enacted wholly within her walls, and as later, the scene widens and we make our long excursions with Leonardo and Raphael to Milan, to Rome, to France.
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