Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
The Development of the Italian Schools of Painting
The preparation of this volume and of those that have stiU to foUow necessitated a fairly long sojourn in Great Britain and 1 feel that 1 must express my gratitude to an those with whom 1 carne in contact for the continuation of this work. Here 1 should like to convey my personal appre ciation, which 1 feeI sure is shared by every historian of art, of the kindness of Sir Robert and Lady Witt, whose collec tion, incredibly rich in reproductions of works of art, is open to students in a manner which is as cordial as it is useful. My relations with private collectors and with the officials of museums and other collections will always remain a very happy souvenir and once more 1 wish to thank more par ticularly Mr. Arthur M. Hind of the Print Room of the British Museum for all that he did to facilitate my study of this marvellous collection of drawings and prints. Sa1'1 Marca di Perugia, December I928. INTRODUCTION After the death of Cosimo de' Medici, Florence lost for a short time that perfect harmony of tendencies which united the noble seigneur with all his surroundings and with the artists and which, during the first generation of the Renaissance, was so fruitful.
The Development of the Italian Schools of Painting
It was not without a very exact idea of the importance of the enter prise, that my publisher and myself decided to undertake the publi cation of the continuation of my "Development of the Italian Schools of Painting", a continuation which will comprise an equally detailed 1 account of painting in the IS h century, as that which I have given of 1 the r4 h century. There is a well defined division between Italian art of the Quattro cento and that of the previous century and my method of dealing with it must naturally be quite different. Artists were less dominated by the traditions of the various localized schools; there was more spontaneousness, more occasion for the manifestation of individuality and very important also was the sum of all previous artistic experience, giving rise to a new and more extensive technique which solved many problems of which artists of past centuries did not even suspect the existence. Lastly, quite another mentality is manifest in the works of art of the I 5th century.
The Development of the Italian Schools of Painting
The pictorial production which, in Tuscany, belongs to the cosmopolitan Gothic style, exhibits certain peculiarities which differentiate it from the other local groups. The cause of this phenomenon must be looked for in the artistic movement in th Florence and Siena before the beginning of the I5 century. It is evident that in these two towns artistic currents were established which were so to say autonomous and provided in themselves a strong reaction against any outside influence. Moreover, contrary to the regions of Northern Italy, both the towns of Florence and Siena were too far distant from other countries to feel the effects of the evolution that took place in the field of figurative art. It is true that certain districts to the south of Tuscany were influenced by foreign schools but this can be accounted for by the feebleness of local centres of any importance, if not their entire absence.
