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Download e-book for kindle: 100 Great Paintings - Duccio to Picasso by Dillian Gordon

By Dillian Gordon

. lge fmt, 1981 illus, 2223pp

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Lippi avoids this mistake in the angel's face pure profile is unsullied. Lippi contemporary Florentine painters 40 punched rings of the where the simplicity of outline of the Virgin's face mingles with the was outstanding for the effectiveness even of his among line. his 41 Italian School Antonio and Picro del c. 1 POLLAIUOLO 44 1 to not later The Martyrdom of St. 025 This altarpiece was painted for the Oratory of San Sebastiano attached to the church or the Santissima Annunziata in Florence, and was commis- probably in 1475.

The sensitive, bejewelled fingers of one hand tighten nervously on the arm-rest of the chair while the other so hand clutches a white kerchief. Behind the earnest, brooding eyes, sunken jaw, and sagging bulbous cheeks is sensed the substructure of a skull. The vertical line of the corner of the green wall behind implicitly confirms the change in plane from the pinkish wrinkled forehead, which catches the light, to the temples darkened with shadow. The pattern of the wall-fabric with the papal crossed keys and tiara, and the gleaming acorns, punning emblems of the della Rovere family (the Italian for oak is rovere), are the sole indications of the status of this old man, the spiritual head of Christendom.

The effect is wonderfully decorative - a tapestry of frozen action. And intentionally so, since the panel hung in the Palazzo Medici in Florence, together with two similar battle-scenes, now in the Uffizi in Florence and in the Louvre in Paris, all three painted about 1450. For the Medici it represented a fanfare of political propaganda, since constructed of flat although the series was described in 1492 as depicting the Rout of San Romano, what took place in 1432 was actually a minor skirmish between the forces of Florence and Siena.

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100 Great Paintings - Duccio to Picasso by Dillian Gordon

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