Four Stages of Renaissance Style: Transformations in Art and Literature, 1400-1700 |
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Page 82
... surface of wall or canvas and the deep architectural space he represented , by illusion , upon this surface . Thus occur many enigmatic relations between cubical space and surface space , with disso- nance between two different and ...
... surface of wall or canvas and the deep architectural space he represented , by illusion , upon this surface . Thus occur many enigmatic relations between cubical space and surface space , with disso- nance between two different and ...
Page 91
... surface , is best expressed in the witty form of the emblem , the " device " that appears in liter- ature and the graphic arts . The emblem is an orna- mental figure inscribed upon any surface and is defined by Geoffrey Whitney in 1586 ...
... surface , is best expressed in the witty form of the emblem , the " device " that appears in liter- ature and the graphic arts . The emblem is an orna- mental figure inscribed upon any surface and is defined by Geoffrey Whitney in 1586 ...
Page 125
... surface beneath . This surface is kept in a restless , “ interesting " movement by four stories ( five , if we count the win- dows above the cornice ) completely out of proportion , making us wonder what the interior structure could be ...
... surface beneath . This surface is kept in a restless , “ interesting " movement by four stories ( five , if we count the win- dows above the cornice ) completely out of proportion , making us wonder what the interior structure could be ...
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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