By John C Van Dyke L H D
An illustrated brown textile version
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Additional info for A Text Book of the History of Painting
He possessed no dramatic force, but had a refined workmanship for his time—a workmanship perhaps better, all told, than that of his Florentine contemporary, Cimabue. ) changed the type somewhat by rounding the form. His drawing was not always correct, but in color he was good and in detail exact and minute. He probably profited somewhat by the example of Giotto. FIG. —A. LORENZETTI. PEACE (DETAIL). TOWN-HALL, SIENNA. The Siennese who came the nearest to Giotto's excellence were the brothers Ambrogio (fl.
D. It became a stronghold of Christian traditions, manners, customs, art. But it was not quite the same civilization as that of Rome and the West. It was bordered on the south and east by oriental influences, and much of Eastern thought, method, and glamour found its way into the Christian community. The artists fought this influence, stickling a long time for the severer classicism of ancient Greece. For when Rome fell the traditions of the Old World centred around Constantinople. But classic form was ever being encroached upon by oriental richness of material and color.
Umbria remained true to the religious sentiment, Florence engaged itself largely with nature study and technical problems, introducing here and there draperies and poses that showed knowledge of ancient sculpture, but at Padua much of the classic in drapery, figures, and architecture seems to have been taken directly from the rediscovered antique or the modern bronze. The early men of the school were hardly great enough to call for mention. During the fourteenth century there was some Giotto influence felt—that painter having been at Padua working in the Arena Chapel.
A Text Book of the History of Painting by John C Van Dyke L H D