Four Stages of Renaissance Style: Transformations in Art and Literature, 1400-1700 |
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Page 126
... mannerist façade since there is little repose or balance ; or else the balances are false . In the Redentore , Venice ( 1576-92 ) , Pal- ladio's interpenetrating giant and minor orders make the façade difficult and surprising to " read ...
... mannerist façade since there is little repose or balance ; or else the balances are false . In the Redentore , Venice ( 1576-92 ) , Pal- ladio's interpenetrating giant and minor orders make the façade difficult and surprising to " read ...
Page 134
... Mannerist art and mannerist conscience accept a principle of in- determination , for all ratios and proportions become provisional . We have mentioned that the regular a - b- a - b alternation of elements in renaissance architecture was ...
... Mannerist art and mannerist conscience accept a principle of in- determination , for all ratios and proportions become provisional . We have mentioned that the regular a - b- a - b alternation of elements in renaissance architecture was ...
Page 137
... mannerist frantic activity within con- stricted boundaries . If the " schizothym ” mannerist world is no longer or- ganized in stable relationships , then possibility , prob- ability , or , better , contingency , becomes the prevailing ...
... mannerist frantic activity within con- stricted boundaries . If the " schizothym ” mannerist world is no longer or- ganized in stable relationships , then possibility , prob- ability , or , better , contingency , becomes the prevailing ...
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academic accents action aesthetic aissance architect architecture artist Aureng-Zebe baroque architecture baroque art Bernini body Botticelli Caravaggio century church classic color columns composition consciousness contour contrast Council of Trent Counter-Reformation critics Descartes dome Domenichino Donne Donne's double drama Dryden El Greco emotion energy epic experience expressed façade feel figures flesh foreground gesture gothic art Greco Hamlet harmony heroic high-baroque human illusion imagination Jacobean Jesuit late-baroque light logic Lycidas mannerism mannerist art mannerist painting mass Measure for Measure medieval ment Michaelangelo Milton mind moral motion nerist painter Paradise Lost Parmigianino passion perspective phase Photo Alinari pictorial piety pilasters plane play poem poet poetry Poussin proportions psychological Racine Racine's renais renaissance art renaissance style Rome roque Rubens Saint Samson sance says Scala Regia scene sculpture seems sense soul space structure surface techniques tension theater things Tintoretto tion tragic ture unity verse vision wall Woelfflin