A history of Italian painting
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About This Book
This book has grown out of lectures which were delivered at the Cleveland Art Museum in 1919–20. There I had ideal hearers, beginners who wanted to learn and were willing to follow a serious discussion. Since I aim at the same sort of a reader now, I have only slightly retouched and amplified the original manuscript. This is frankly a beginner’s book. I have had to omit whatever might confuse the novice, including many painters inherently delightful. Controversial problems for the same reason have been when possible avoided. When, however, I have had to cope with such, I have depended more on ...
Chapters (568)(click to expand)
- A HISTORY OF ITALIAN PAINTING
- PREFACE
- CONTENTS
- Chapter I GIOTTO AND THE NEW FLORENTINE HUMANISM
- ILLUSTRATIONS FOR CHAPTER I
- On the Dignity and Wealth of Old Florence
- Giotto’s View of Franciscan Poverty
- A Contract with Orcagna for the Altar-Piece of 1357
- Chapter II SIENA AND THE CONTINUING OF THE MEDIÆVAL STYLE
- ILLUSTRATIONS FOR CHAPTER II
- A Sonnet to the Spendthrift Club
- How Venus Fared in Siena
- A Procession on the Completion of Duccio’s Majesty
- A Contract for an Altar-piece by pietro lorenzetti
- Chapter III MASACCIO AND THE NEW REALISM
- ILLUSTRATIONS FOR CHAPTER III
- Vasari on Masaccio
- Leonardo da Vinci on Masaccio
- Vasari on Paolo Uccello
- An Appraisal of Baldovinetti’s Frescoes
- Chapter IV FRA FILIPPO LIPPI AND THE NEW NARRATIVE STYLE
- ILLUSTRATIONS FOR CHAPTER I
- Pageantry in Old Florence
- The Procession of the Magi
- Pageants in 1466
- A Side-light on Ghirlandaio’s Patrons
- Chapter V DAWN OF THE GOLDEN AGE: BOTTICELLI AND LEONARDO DA VINCI
- ILLUSTRATIONS FOR CHAPTER V
- Poetry and Painting in the Renaissance
- Leonardo and the Academic Idea of Painting
- Modelling in Chiaroscuro as the Painter’s First Object
- On Judging a Painter’s Work
- On the Movements that Mark the Emotions
- The Steps in a Painter’s Education
- Judgment versus Dexterity
- On Use of Memory in the Night Watches
- On Selective Imitation
- On High Standards
- On Avoiding Harsh Shadows and Sunlight Effects
- On the Most Pleasing Light
- On Counterpoise of the Figure
- On Freedom in Making a Composition
- Painting the Grandchild of Nature
- That the Painter Should be Solitary
- Rubens’ Praise of Leonardo
- Chapter VI THE GOLDEN AGE RAPHAEL AND MICHELANGELO
- ILLUSTRATIONS FOR CHAPTER VI
- A Contemporary List of Great Artists, before 1510
- Michelangelo on Renaissance Counterpoise
- Vasari on the “Modern Style”
- Unity of Design in the Renaissance
- Sir Joshua Reynolds on the Grand Style
- Kenyon Cox on the Classic Spirit
- The End of the Renaissance and the Coming of Fear
- Chapter VII VENETIAN PAINTING BEFORE TITIAN
- ILLUSTRATIONS TO CHAPTER VII
- Praise of Mantegna in the Renaissance
- Titian’s View of Mantegna
- Ariosto’s Honor List of Painters
- Lomazzo’s List of Great Painters and Their Kindred Poets
- Giorgione—Leonardo on Rural and Pastoral Delights
- Chapter VIII VENETIAN PAINTING OF THE RENAISSANCE
- ILLUSTRATIONS FOR CHAPTER VIII
- Titian’s Assumption the Beginning of the Venetian Grand Style
- Aurelio Luini on Titian’s Impressionism
- On Belle Nature and the Antique
- George Frederick Watts on the Greek Affinities of Venetian Painting
- Chapter IX THE REALISTS AND ECLECTICS
- ILLUSTRATIONS FOR CHAPTER IX
- On the Eclectic Ideal
- NOTES
- CHAPTER I.
- CHAPTER II.—SIENA
- CHAPTER III.—MASACCIO AND THE NEW REALISM
- CHAPTER IV.—FRA FILIPPO LIPPI AND THE NEW NARRATIVE STYLE
- CHAPTER V.—BOTTICELLI AND LEONARDO DA VINCI
- CHAPTER VI.
- CHAPTER VII.—EARLY VENETIAN PAINTING
- CHAPTER VIII.—TITIAN AND THE VENETIAN RENAISSANCE
- CHAPTER IX.—THE REALISTS AND ECLECTICS
- HINTS FOR READING
- INDEX
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