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By John C Van Dyke L H D

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Sample text

But these influences seem to have died out and the real direction of the school in the early fifteenth century was given by Francesco Squarcione (1394-1474). He was an enlightened man, a student, a collector and an admirer of ancient sculpture, and though no great painter himself he taught an anatomical statuesque art, based on ancient marbles and nature, to many pupils. Squarcione's work has perished, but his teaching was reflected in the work of his great pupil Andrea Mantegna (1431-1506). Yet Mantegna never received the full complement of his knowledge from Squarcione.

Novella and Acad. ); Giotto, frescos Upper and Lower churches Assisi, best work Arena chapel Padua, Bardi and Peruzzi chapels S. Croce, injured frescos Bargello Florence; Taddeo Gaddi, frescos entrance wall Baroncelli chapel S. Croce, Spanish chapel S. M. )); Agnolo Gaddi frescos in choir S. Croce, S. , frescos S. Croce Florence; Antonio Veneziano, frescos in ceiling of Spanish chapel, S. M. Novella, Campo Santo Pisa; Orcagna, altar-piece Last Judgment and Paradise Strozzi chapel S. M. Novella, S.

He gathered up and united in himself all the art teachings of his time. In working out problems of form and in delicacy and charm of expression he went beyond his predecessors. He was a many-sided genius, knowing not only in a matter of natural appearance, but in color problems, in perspective, shadows, and light. His art was further along toward the Renaissance than that of any other Giottesque. He almost changed the character of painting, and yet did not live near enough to the fifteenth century to accomplish it completely.

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A Text Book of the History of Painting by John C Van Dyke L H D


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