Lanzi's History of Painting in Upper and Lower Italy pdf epub mobi txt 电子书 下载 2026

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出版者:

作者:Lanzi, Luigi Antonio/ Evans, George William D. (TRN)

出品人:

页数:328

译者:

出版时间:

价格:270.00元

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isbn号码:9781430457701

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图书标签:

• 艺术史
• 绘画史
• 意大利艺术
• 文艺复兴
• 艺术评论
• 兰齐
• 艺术
• 文化
• 欧洲艺术
• 艺术参考书

A Chronicle of the Renaissance: Florentine Artistic Innovations from Cimabue to Leonardo A Comprehensive Study of the Florentine School’s Ascendancy (c. 1280 – 1500) This volume delves into the vibrant, often tumultuous, genesis and mature flowering of the Florentine artistic tradition during the crucial period spanning the late Duecento through the High Renaissance’s nascent stages. Moving beyond simple biographical sketches, A Chronicle of the Renaissance meticulously maps the intellectual, economic, and religious currents that fueled the revolution in painting, sculpture, and architecture centered in the cradle of the Renaissance. The narrative commences not with the masters, but with the societal bedrock: the rise of powerful mercantile families, the civic pride embodied in guild structures, and the profound shift in theological focus from ethereal mysticism toward a more human-centered piety exemplified by the Franciscan and Dominican orders. This environment fostered a demand for art that spoke directly to lived experience, setting the stage for artistic innovation unparalleled in European history. Part I: The Proto-Renaissance Groundwork (c. 1280 – 1340) We begin with the pivotal break from Byzantine formalism. The chapter on Cimabue and Giotto analyzes their distinct contributions to spatial representation and emotional verisimilitude. Cimabue’s powerful, tragic figures, while retaining Byzantine stiffness, hint at an emerging three-dimensionality. The focus then shifts extensively to Giotto, whose fresco cycles—particularly those in the Arena Chapel—are examined not merely as pictorial achievements but as narrative blueprints for future generations. Detailed analysis of his use of chiaroscuro to model form and his establishment of unified, believable architectural settings is provided, arguing that Giotto fundamentally recalibrated the viewer’s relationship with the depicted scene. Subsequent sections explore the Florentine workshops that disseminated Giotto’s naturalism. Artists such as Maso di Banco and Taddeo Gaddi are explored in context, illustrating how the language of monumental narrative painting began to permeate altarpieces and smaller devotional panels, establishing Florentine preferences for clarity and emotional force over Venetian richness or Sienese decorative elegance. Part II: Crisis, Piety, and the Quattrocento Dawn (c. 1340 – 1420) The devastating impact of the Black Death (1348) serves as a dramatic pivot point. This section investigates how mass mortality influenced artistic patronage and subject matter. A study of the Orcagna brothers reveals a complex interplay between fervent eschatological dread and an increasing desire for lavish, commemorative artistry, often manifesting in highly detailed, complex altarpieces overloaded with symbolism designed to guarantee salvation. The resurgence of civic humanism in the early Quattrocento is traced through the nascent architectural programs sponsored by the guilds and wealthy families like the Medici. While the early Quattrocento painting scene was initially dominated by the lingering International Gothic style—exemplified by Lorenzo Monaco’s elegant linearity—the true revolutionary shift is rooted in perspective. This segment offers a deep dive into Brunelleschi’s experiments in linear perspective and its immediate adoption by painters. The revolutionary impact of Masaccio, particularly in the Brancacci Chapel, is a central feature. Masaccio’s fusion of Giotto’s volumetric solidity with mathematical rigor in perspective created figures possessing an unprecedented psychological weight and physical presence. Part III: The Mature Quattrocento: Humanism, Line, and Light (c. 1440 – 1490) This section focuses on the high tide of Florentine stylistic development, characterized by intense technical experimentation and a conscious revival of classical ideals filtered through contemporary philosophical thought. Fra Angelico and Filippo Lippi: Angelico is analyzed as the masterful synthesizer, harmonizing profound spiritual intensity with the new discoveries of spatial depth, often resulting in compositions that feel both anciently sacred and freshly immediate. Lippi, conversely, represents the introduction of a more human and sometimes startlingly intimate naturalism, exploring the potential for anecdotal detail within sacred narratives. The Geometry of Beauty: Piero della Francesca and Uccello: A focused study is dedicated to the intellectual scaffolding of Renaissance painting. Uccello's obsessive, almost bizarre, explorations of foreshortening and geometrical rigor—as seen in his battle scenes—are framed as an intellectual exercise in mastering pictorial space. Piero della Francesca, though briefly working in Florence, embodies the ultimate fusion of mathematical precision, luminous light, and stoic humanism, providing a visual analogue to Alberti’s theoretical treatises. Botticelli and the Neoplatonic Current: The complex patronage of Lorenzo de’ Medici is explored through the lens of the Medici Circle’s Neoplatonic philosophy. Sandro Botticelli’s mature works, such as Primavera and The Birth of Venus, are decoded not as mere mythological illustrations but as sophisticated allegories concerning beauty, divine love, and earthly virtue, demonstrating the integration of classical mythology into the highest forms of devotional and secular art. Part IV: The Apex of Technical Mastery and Transition (c. 1490 – 1500) The final chapters address the culmination of Quattrocento pursuits just as the High Renaissance style begins to coalesce. The focus shifts to how the mastery of anatomy, expressive gesture, and atmospheric handling prepared the ground for the next generation. Verrocchio’s Workshop and the Sculptural Influence: The essential connection between Florentine painting and sculpture is examined through Andrea del Verrocchio’s influence, where draftsmen learned the importance of disegno (design and drawing) as the foundation of all visual arts. The Young Leonardo da Vinci: The volume concludes with an examination of the emerging genius of Leonardo in the Florentine context. His early works reveal an intense scrutiny of the visible world, a profound interest in optics, geology, and human psychology, all channeled through a superlative command of drawing. His pioneering use of sfumato and his innovative psychological portraiture are presented as the inevitable synthesis of all the artistic and intellectual advancements made in Florence over the preceding two centuries—a departure from the clear linearity of the Quattrocento toward an atmospheric complexity that redefined pictorial space entirely. This study argues that the Florentine artistic tradition, through its relentless pursuit of optical truth, its embrace of classical rigor, and its intellectual engagement with humanist philosophy, forged a new aesthetic language that fundamentally shaped the course of Western Art for centuries to come.

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