Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition, 1350-1450Clarendon Press, 1971 - 185 sider "Painters and humanists were joint pace-makers for the early Italian Renaissance: this was recognized even at the time. But how much the painters' visual art had in common with the humanists' verbal art is still not clear. This book - acclaimed on its first publication as 'almost beyond value in its appeal to the mind' - examines the one firm bridge between them, what Petrarch and other humanists wrote about painting. It makes a survey of the range and main themes of their art criticism. It describes how incessant analysis of their own medium, neo-classical language, also conditioned their own insights into painting. Finally, it explains in detail the genesis of one humanist invention still with us - the notion that a picture has a 'composition.'" -- Cover page 4. |
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Alberti Apelles artis artist atque autem beauty Biblioteca Bruni Byzantine Chrysoloras Cicero Ciceronian Cimabue classical colours Coluccio Salutati compositio copia corporis criticism discourse early humanists eius ekphrasis enim etiam facies Fazio Filippo Florence Gentile da Fabriano Giotto Greek Guarino haec igitur images ingenii ingenium inter ipsa Italian language Latin Leonardo Bruni Leonardo Giustiniani Leonello d'Este literary Lorenzo Lorenzo Valla Lysippus magis Manuel Manuel Chrysoloras manus modo multa nature neo-classical neque nihil nisi opera opus Orat painters painting and sculpture periodic sentence Petrarch pictura Pisanello Pliny praise quae quam Quattrocento quibus quid quidem Quintilian quod quoque Renaissance rerum rhetoric Rome Salutati sentence skill style sunt tabula tamen things treatise Valla varietas Venice vero videtur virtues Vittorino Vittorino da Feltre vultus words Zeuxis δὲ εἴτε ἐν καὶ μὲν τὰ τὴν τῆς τὸ τοῦ τῶν