By Michael Levey
“From Giotto to Cezanne: A Concise historical past of portray Michael Levey. 549 colour illustrations. «Outstanding...accurate, unfastened from prejudice, consistently neat, usually stimulating. No larger creation to Western portray has eve been produced.» (The Sunday Times). « combining critical scholorship with a presentation easy adequate to curiosity the overall reader and applying a typical of replica more than enough to make the outcome either an highbrow and a cultured pleasure.» ( the Burlington magazine).
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Additional info for A Concise History of Painting, from Giotto to Cézanne
68), combines acute portraiture with an architectural perspective setting of virtuoso elaboration. 68 Melozzo da Forli Platina appointed / \ atican Librarian With Luca Signorelli (1450-15 23) Piero's influence quickly yielded to a passion for the nude inspired rather by the example of 69 PlERO DELLA FRANCESCA Resurrection 70 Piero della Francesca Oneen of Sheba adoring the wood of the Trite Cross 49 *w$^w^'it0$ 71 Luca Signorelli Holy Family Pollaiuolo. In the background of his harsh and strange religious pictures where the Holy Family are sometimes brutish (pi.
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. Based on the discoveries of Giotto and respect for simple facts ; quality of the 61 Domenico Ghirlandaio Old man and boy Masaccio, his art conserves rather than pushes forward. His Adoration of the Magi (pi.
Than life size and set against simulated marble (pi. 48) they too have a wiry nervousness, a sense of energy only temporarily held in check, which runs The breeze of movement like fire religious note. piety is a wood in the now (pi. apparent; and the Adoration 4J ) David in returns to the world not of (pi. become a gale 49) of Andrea Castagno has (1423-57), with its harsh vigour and emphasis on the body in action. Closer to Donatello than to Masaccio, Castagno sought deliber- 36 ; through the work of a younger man, Antonio Pollaiuolo (c.
A Concise History of Painting, from Giotto to Cézanne by Michael Levey