Drawing, Italian, Drawing, Renaissance - Italy. Yale University Press. Books for People with Print Disabilities. Internet Archive Books. Uploaded by Lotu Tii on January 13, 2012. SIMILAR ITEMS (based on metadata).
Start by marking Drawing in Early Renaissance Italy as Want to Read . The book opens with a brief history of earlier drawings and a discussion of the various artistic problems which drawings could help to resolve.
Start by marking Drawing in Early Renaissance Italy as Want to Read: Want to Read savin. ant to Read. Through the works of the major fifteenth-century draughtsmen - Pisanello, Jacopo Bellini, Pollaiuolo, Ghirlandaio, Carpaccio and Leonardo da Vinci - Francis Ames-Lewis then explores new types of drawing evolved during the century: The book opens with a brief history of earlier drawings and a discussion of the various artistic problems which drawings could help to resolve.
Silverpoint drawings of this era include model books and preparatory sheets for paintings. Drawing in Early Renaissance Italy. Yale University Press, 2000. Artists who worked in silverpoint include Jan van Eyck, Leonardo da Vinci, Albrecht Dürer and Raphael. As noted by Francis Ames-Lewis, drawing styles changed at the end of the 16th century, resulting in a decline for metalpoint. The discovery of graphite deposits at Seathwaite in Borrowdale, Cumbria, England in the early 1500s, and its increasing availability to artists in a pure, soft (and erasable) form hastened silverpoint's eclipse.
In this beautiful book, Francis Ames-Lewis examines the works of the major draughtsmen of the . This pioneering book.
Ames-Lewis's insight into his chosen subject-matters is impressive; so is his simple and lucid presentation. Format Paperback 208 pages.
School University of California, Berkeley. Yale Uni versity Press ’ s decision to reissue the book acknowledges that the development of drawing in the fifteenth century has increasingly come to be seen as a crucial element in Renaissance artistic practice. The reconstruction of this development that I set out in 1981, and my discussion then of the techniques and functions of Renaissance drawings, still for the most part represents my understanding of these aspects of artistic activity.
The Early Medici and Their Artists. London: Birkbeck College, University of London, Department of Art History, 1995. 241. AmesLewis, Francis. 2nd rev. ed. New Haven: Yale University Press, 2000. 110. Isabella and Leonardo: The Relationship between Isabella d’Este and Leonardo da Vinci. New Haven: Yale University Press, 2012.
Ames-Lewis argues that by the early sixteenth century, artists and painters clearly .
Ames-Lewis argues that by the early sixteenth century, artists and painters clearly saw themselves as conducting an intellectual activity and as being a part of the larger scholarly community. Art had become one of the liberal arts. On the face of it, this seems a hard case to make, particularly if we depend heavily on the purely literary evidence. Renaissance writers, particularly after Alberti, increasingly placed art on an equal footing with poetry, often citing Horace's dictum "as a painting, so is a poem. Some even argued for the superiority of painting to verse.
The book is lavishly illustrated in both black and white and color. Ames–lewis: ?drawing? In Early Renaissance Italy (paper от 1406. Книга отсутствует в продаже. Похожие книги: s Media. Заказ обрабатывается в индивидуальном порядке: каждо от 3364. Social Change (paper). Social Change (paper) от 1103. LibRing - система поиска книг в интернет-магазинах. Возможен поиск книг по названию, по автору, по ISBN.
Drawing in early Renaissance Italy, . 400-1520. The early Medici as patrons of art and architecture, c. 420-1494. in eds Francis Ames-Lewis and Paul Joannides, Reactions to the Master: Michelangelo. The drawings of Leonardo da Vinci and his artistic relationship with Isabella . ste. s effect on Art and Artists in the Sixteenth Century, Aldershot (Ashgate Publications) 2003, 1-11. s responsiveness to Michelangelo. s effect on Art and Artists in the Sixteenth Century, Aldershot (Ashgate Publications) 2003, 12-30.