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You will enjoy this collection of essays about beautiful and fantastic paintings by artists throughout history. Contents: Tuscan Schools, Venetian Schools, Spanish Schools, Flemish School, Dutch School, German Schools, French School, English School, cont.
Excerpt from Six Centuries of Painting This is exactly what is recorded of Reynolds, it may be noted, and very much the same as in the case of Gainsborough, Benjamin West - and many a modern painter. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Six Centuries of Painting by Randall Davies INTRODUCTORY So far as it concerns pictures painted upon panel or canvas in tempera or oils, the history of painting begins with Cimabue, who worked in Florence during the latter half of the thirteenth century. That the art was practised in much earlier times may readily be admitted, and the life-like portraits in the vestibule at the National Gallery taken from Greek tombs of the second or third century are sufficient proofs of it; but for the origin of painting as we are now generally accustomed to understand the term we need go no further back than to Cimabue and his contemporaries, from whose time the art has uninterruptedly developed throughout Europe until the present day. Oddly enough it is to the Christian Church, whose early fathers put their heaviest ban upon all forms of art, that this development is almost wholly due. The reaction against paganism began to die out when the Christian religion was more firmly established, and representations of Christ and the Saints executed in mosaic became more and more to be regarded as a necessary, or at any rate a regular embellishment of the numerous churches which were built. For these mosaics panel paintings began in time to be substituted; but it was long before any of the human feeling of art was to be found in them. The influence of S. Francis of Assisi was needed to prepare the way, and it was only towards the close of the thirteenth century that the breath of life began to be infused into these conventional representations, and painting became a living art. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.
Greek Art and Aesthetics in the Fourth Century B.C. analyzes the broad character of art produced during this period, providing in-depth analysis of and commentary on many of its most notable examples of sculpture and painting. Taking into consideration developments in style and subject matter, and elucidating political, religious, and intellectual context, William A. P. Childs argues that Greek art in this era was a natural outgrowth of the high classical period and focused on developing the rudiments of individual expression that became the hallmark of the classical in the fifth century. As Childs shows, in many respects the art of this period corresponds with the philosophical inquiry by Plato and his contemporaries into the nature of art and speaks to the contemporaneous sense of insecurity and renewed religious devotion. Delving into formal and iconographic developments in sculpture and painting, Childs examines how the sensitive, expressive quality of these works seamlessly links the classical and Hellenistic periods, with no appreciable rupture in the continuous exploration of the human condition. Another overarching theme concerns the nature of “style as a concept of expression,” an issue that becomes more important given the increasingly multiple styles and functions of fourth-century Greek art. Childs also shows how the color and form of works suggested the unseen and revealed the profound character of individuals and the physical world.