Four Stages of Renaissance Style: Transformations in Art and Literature, 1400-1700 |
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Page 13
... material , and evoke some of the same emotive re- sponses ; but the real difference between their arts is not so ... materials are used as facing ( revetment ) over plain , solid , monumental ma- sonry . Admittedly the subject of a work ...
... material , and evoke some of the same emotive re- sponses ; but the real difference between their arts is not so ... materials are used as facing ( revetment ) over plain , solid , monumental ma- sonry . Admittedly the subject of a work ...
Page 126
... material " yet gains an effect of spirituality from its strong verticality and con- straint . Certainly that typical mannerist façade of the Gesù Church in Rome ( 1569-84 ) , with its unnatural withering of rich materials , has a false ...
... material " yet gains an effect of spirituality from its strong verticality and con- straint . Certainly that typical mannerist façade of the Gesù Church in Rome ( 1569-84 ) , with its unnatural withering of rich materials , has a false ...
Page 239
... material world is the heavenly world ; his most sensuous exhibitions are on high , like the exhibitions in the divided baroque world . If the two realms of baroque art - the world below and the world above - are separated , they are not ...
... material world is the heavenly world ; his most sensuous exhibitions are on high , like the exhibitions in the divided baroque world . If the two realms of baroque art - the world below and the world above - are separated , they are not ...
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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