In the sixteenth century, the humanist values and admiration for classical antiquity that marked the early Renaissance spread from Italy throughout the rest of the continent. Part of the "Art through the Centuries" series, this volume is divided into three sections that discuss the important people, concepts, and artistic centres of this period.
Influenced by a revival of interest in Greco-Roman ideals and sponsored by a newly prosperous merchant class, fifteenth-century artists produced works of astonishingly innovative content and technique. The International Gothic style of painting, still popular at the beginning of the century, was giving way to the influence of Early Netherlandish Flemish masters such as Jan van Eyck, who emphasized narrative and the complex use of light for symbolic meaning. Patrons favored paintings in oil and on wooden panels for works ranging from large, hinged altarpieces to small, increasingly lifelike portraits. In the Italian city-states of Florence, Venice, and Mantua, artists and architects alike perfected existing techniques and developed new ones. The painter Masaccio mastered linear perspective; the sculptor Donatello produced anatomically correct but idealized figures such as his bronze nude of David; and the brilliant architect and engineer Brunelleschi integrated Gothic and Renaissance elements to build the self-supporting dome of the Florence Cathedral. This beautifully illustrated guide analyzes the most important people, places, and concepts of this early Renaissance period, whose explosion of creativity was to spread throughout Europe in the sixteenth century.
In viewing the great works of sacred Western art, many people find difficulty in understanding the stories and identifying the figures portrayed in them. This informative guide decodes these often-mysterious scenes and reveals a vibrant world of images from the Christian tradition for museum visitors, students, and art enthusiasts alike. Gospel Figures in Art examines depictions of stories and figures from both the New Testament's canonical gospels (the books of Matthew, Mark, Luke, and John) and the apocryphal gospels (early Christian writings excluded from the New Testament because of their unsubstantiated authorship), which served as rich sources of inspiration for medieval and Renaissance artists. Illustrated with masterpieces from many of the world's premier museums, the art works provided as visual references are carefully analyzed. Sections are devoted to the principal figures in the life of Jesus Christ-his family and the evangelists-and to the major biographical turning points: his birth and baptism, his public life, the miracles and good deeds he performed, his crucifixion, resurrection, and the events that followed. This indispensable resource makes the icons and narratives of sacred art come to life.
Clinical neuropsychology, i.e. the study of patients with cognitive disorders due to lesions of the central nervous system, has for many years been the leading or, in the case of language, the only source of knowledge about the neural basis of cognitive function. This state of affairs has changed considerably in the last two decades. The “cognitive revolution” has led to extensive developments in the modelling of cognitive functioning in normal subjects; at the same time, modern functional imaging techniques have provided new opportunities for the investigation of normal subjects engaged in cognitive tasks. These recent advances, together with other developments in the field of neurophysiology and experimental psychology, have been instrumental in the definition of a new field of investigation, called “cognitive neuroscience”. This increasing body of knowledge must be confronted, and whenever possible integrated, with the teachings of clinical neuropsychology. The aim of this book is to provide an introduction to this “basic science” from the vantage point of the possible applications to the practice of behavioural and cognitive neurology. It attempts to integrate cognitive neuroscience and the clinical practice of behavioural and cognitive neurology. For this reason, the review of the classical syndrome of neuropsychology, such as aphasia, unilateral neglect and dementia, is preceded by a summary of current cognitive models. The first section is thus devoted to selective summaries of current models of cognitive functions and of their neurological correlates; the second discusses diagnostic issues; the third provides an overview of clinical presentations, and attempts an integration with the first section; finally, the fourth section is devoted to treatment and management issues./a
At the tender age of ninety, my dearest wish has been to publish my remaining poems before I depart this world and to register my name on the list of published poets, thus avoiding my life’s work disappearing in the mists of time. My grandmother on my father’s side wrote poetry, so I guess I inherited this wonderful gift from her. Unfortunately, she didn’t publish her work; so when she died, her poems died with her. Sadly, I didn’t get the chance or opportunity to read any of her work. What a loss! So, dear reader, I trust you may enjoy the words of my heart, mind, and soul. Happy reading!
Every colour has many aspects to it, many variations, and meanings. Red can mean passion, or suffering, or love, or anger, for instance. How are these aspects represented in works of art? FromTitian and Bosch to Matisse and Warhol, and in design and fashion, colour is omnipresent, and incredibly varied in symbolism. Paintings use colours to convey a message as much as just for surface appeal. This fascinating book focuses on the most important colours in art: red, blue, yellow, black, white, green and gold, and looks at them through some 200 beautifully printed works.
Every colour has many aspects to it, many variations, and meanings. Red can mean passion, or suffering, or love, or anger, for instance. How are these aspects represented in works of art? FromTitian and Bosch to Matisse and Warhol, and in design and fashion, colour is omnipresent, and incredibly varied in symbolism. Paintings use colours to convey a message as much as just for surface appeal. This fascinating book focuses on the most important colours in art: red, blue, yellow, black, white, green and gold, and looks at them through some 200 beautifully printed works.
The Renaissance features all the obvious well-known Italian masters such as Fra Angelico, Michelangelo, Masaccio, Titian, Raphael, Botticelli and Leonardo da Vinci. But what makes this book different is that it also covers the great Dutch and German masters, such as Van Eyck, Bosch, Bruegel, Holbein, Durer and the Spanish painter El Greco. It is a rich chronological survey of the splendour and wealth of Renaissance art from the end of the Gothic period to the beginning of the Baroque period (1401-1610). In addition to all the superb paintings, the book also features the best in sculpture and architecture during this period. many of them large-scale reproductions, The Renaissance should appeal to everyone interested in this popular period of painting.
Examines the variations and diverse meanings of the primary colors as seen in two hundred masterworks of painting from ancient times up to the present.
Influenced by a revival of interest in Greco-Roman ideals and sponsored by a newly prosperous merchant class, fifteenth-century artists produced works of astonishingly innovative content and technique. The International Gothic style of painting, still popular at the beginning of the century, was giving way to the influence of Early Netherlandish Flemish masters such as Jan van Eyck, who emphasized narrative and the complex use of light for symbolic meaning. Patrons favored paintings in oil and on wooden panels for works ranging from large, hinged altarpieces to small, increasingly lifelike portraits. In the Italian city-states of Florence, Venice, and Mantua, artists and architects alike perfected existing techniques and developed new ones. The painter Masaccio mastered linear perspective; the sculptor Donatello produced anatomically correct but idealized figures such as his bronze nude of David; and the brilliant architect and engineer Brunelleschi integrated Gothic and Renaissance elements to build the self-supporting dome of the Florence Cathedral. This beautifully illustrated guide analyzes the most important people, places, and concepts of this early Renaissance period, whose explosion of creativity was to spread throughout Europe in the sixteenth century.
In the sixteenth century, the humanist values and admiration for classical antiquity that marked the early Renaissance spread from Italy throughout the rest of the continent. Part of the "Art through the Centuries" series, this volume is divided into three sections that discuss the important people, concepts, and artistic centres of this period.
In viewing the great works of sacred Western art, many people find difficulty in understanding the stories and identifying the figures portrayed in them. This informative guide decodes these often-mysterious scenes and reveals a vibrant world of images from the Christian tradition for museum visitors, students, and art enthusiasts alike. Gospel Figures in Art examines depictions of stories and figures from both the New Testament's canonical gospels (the books of Matthew, Mark, Luke, and John) and the apocryphal gospels (early Christian writings excluded from the New Testament because of their unsubstantiated authorship), which served as rich sources of inspiration for medieval and Renaissance artists. Illustrated with masterpieces from many of the world's premier museums, the art works provided as visual references are carefully analyzed. Sections are devoted to the principal figures in the life of Jesus Christ-his family and the evangelists-and to the major biographical turning points: his birth and baptism, his public life, the miracles and good deeds he performed, his crucifixion, resurrection, and the events that followed. This indispensable resource makes the icons and narratives of sacred art come to life.
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