A Concise History of Painting, from Giotto to Cézanne by Michael Levey

By Michael Levey

“From Giotto to Cezanne: A Concise background of portray Michael Levey. 549 colour illustrations. «Outstanding...accurate, unfastened from prejudice, continuously neat, usually stimulating. No greater creation to Western portray has eve been produced.» (The Sunday Times). « combining critical scholorship with a presentation easy adequate to curiosity the overall reader and utilising a customary of replica more than enough to make the outcome either an highbrow and a cultured pleasure.» ( the Burlington magazine).

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Yi) often occur groups of brooding nudes, fit denizens of Signorelli's arid landscapes and the subject of his real interest. His sardonic, satiric powers spring into genius at Orvieto cathedral where he frescoed a terrifyingly dramatic Last Judgment (pi. yy). Angels blow vast trumpets and out of a sandy desert, blasted of all vegetation, the dead begin to stretch and rise. Gloating devils, not grotesque caricatures but human and muscular, carry off the damned. The living groan and are smitten by the fire which falls from the darkened heavens.

The :io ground is filled by a variety of exotic irpaccio's tenjmes and exempt pictures into genre of dency to turn religious 94 Antonello da Messina St Sebastian in a pageant kind. 95) it Carlo Crivelli as (active 1457deserted Venice and settled in who the provincial Marches. There his Vivarini- on malevolent intensity. His Madonnas, warped by pietv, brood inspired style took over the sickly Child like witches The mood (pi. pj). melts into highly wrought orna- mentation in the Annunciation (pi.

Ji) by effortless telling enchanting the contemporary Sienese Francesco di Giorgio (1439-1 5 2 Antonio Pollaiuolo Apollo and Daphne But a new 501/2). sophisticated interest in antiquity expressed at Florence in Sandro Botticelli (c. 1446-15 10), a painter largely indifferent to problems of perspective and anatomy. His ostensibly pagan pictures is S' 5 3 Antonio Pollaiuolo Martyrdom of St Sebastian 39 were for a narrow literary and aristocratic fashionably neo-Platonic, while his circle, and religious pictures were inevitably easier to appreciate and for a wider audience.

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