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The Story of Art: 0000

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In the middle of the 12th century, when the Gothic style was first developed, Europe was still a thinly populated continent of peasants with monasteries and barons’ castles as the main centres of power and learning .. 150 years later these towns had grown into teeming centres of trade” Antoine Watteau .. began to paint his own visions of a life divorced from all hardship.. a dream-life of gay picnics in fairy parks where it never rains, of musical parties.. dressed in sparkling silk” Invention of printing in Germany by Gutenberg in mid 15th century .. “just as the invention fo printing hastened the exchange of ideas .. so the printing of images ensured the triumph of the art of the Italian Renaissance in the rest of Europe” 015 Harmony Attained: Tuscany and Rome, early 16th century a b c Collins, Bradford R. (1989). "History of Art/ The Story of Art (Book Review)". Art Journal. 48 (1): 90. doi: 10.2307/776926. Raphael .. to many he is simply the painter of sweet Madonnas … [he] proved his mastery of perfect design and balanced composition .. movement answers movement, and form to form” in his frescoes eg. The nymph, Galatea, 1512-14

Almost as well known as the Mona Lisa, Sir Ernst Gombrich's The Story of Art unites learning and pleasure."― Pierre Rosenberg, Président-Directeur, Musée du Louvre, Paris the Pantheon is the only temple of classical antiquity which has always remained a place of worship” as with forms so with colours.. artists no longer felt obliged to study and imitate the real gradations of shades that occur in nature they were free to choose.. the intense colours of their book illuminations.. their stained glass windows” the swiss painter Ferdinand Hodler (1853-1918) boldly simplified. his native scenery even further to achieve a poster-like clarity”all his admiration for the new art developing in Italy does not seem to have shaken his fundamental belief that painter’s business was to paint the world around him” The Egyptians had based their art on knowledge. The Greeks began to use their eyes … [the artist] no longer thought that everything he knew to be there must also be shown” The first example of a “Renaissance man,” Leonardo da Vinci was a genius in many fields, including invention, painting, sculpture, and architecture. Known as the quintessential key figure of the Italian High Renaissance, his artworks contributed greatly to the aesthetic and techniques popularized during the time.

if most works in of these civilizations look remote and unnatural to us, the reason lies in the ideas they are meant to convey” why should a painting always show the whole or a relevant part of each figure in a scene?” 026 In Search of New Standards: The later 19th century

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he wanted to convey the feeling of solidity and depth, and he found he could do that without conventional draughtsmanship” English institutions and English taste became the admired models for all people in Europe who longed for the rule of reason. For in England art had not been used to enhance the power and glory of god-like rulers “ the Surrealists .. agreed with Klee that an artist cannot plan his work but must let it grow” 028 A story without end – The Triumph of Modernism kings and princes of 17th century Europe .. they too wanted to appear as beings of a different kind, lifted by the divine right above the common run of men” As a humane, uncomplicated but unpatronising account of art from prehistoric cave daubs to twentieth-century splurges, Gombrich’s Story of Art is just what its title promises: more of a story than a work of reference, yet that as well."― Business Weekly

In Rome, in particular, there were cultured gentlemen who enjoyed discussions on the various ‘movements’ among the artists of their time”once more we must imagine what it meant for a simple Austrian peasant to leave his farmhouse and enter this strange wonderland” in Romanesque and Norman churches we generally find round arches resting on massive piers . The whole impression.. is one of massive strength” These interactive timelines are used to graphically and logically illustrate the progression of visual art. Venus of Willendorf; c. 25,000 BC; limestone with ochre colouring; height: 11cm; Natural History Museum ( Vienna, Austria) [10]

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