By John C. van Dyke
John Charles van Dyke (1856-1932) was once an American artwork historian and critic. He was once born at New Brunswick, N. J., studied at Columbia, and for a few years in Europe. along with his e-book chronicling the historical past of portray from cave work to the fashionable period. absolutely illustrated.
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John Charles van Dyke (1856-1932) used to be an American artwork historian and critic. He was once born at New Brunswick, N. J. , studied at Columbia, and for a few years in Europe. together with his publication chronicling the historical past of portray from cave work to the trendy period. absolutely illustrated.
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Additional info for A Text-Book of the History of Painting (Illustrated Edition)
GOTHIC PERIOD. 1250-1400. BOOKS RECOMMENDED: As before, Burckhardt, Crowe and Cavalcaselle, Eastlake, Lafenestre, Lanzi, Lindsay, Reber; also Burton, Catalogue of Pictures in the National Gallery, London (unabridged edition); Cartier, Vie de Fra Angelico; Förster, Leben und Werke des Fra Angelico; Habich, Vade Mecum pour la Peinture Italienne des Anciens Maîtres; Lacroix, Les Arts au Moyen-Age et à la Époque de la Renaissance; Mantz, Les Chefs-d'œuvre de la Peinture Italienne; Morelli, Italian Masters in German Galleries; Morelli, Italian Masters, Critical Studies in their Works; Rumohr, Italienische Forschungen; Selincourt, Giotto; Stillman, Old Italian Masters; Vasari, Lives of the Most Eminent Painters; consult also General Bibliography (p.
Yet Mantegna never received the full complement of his knowledge from Squarcione. He was of an observing nature and probably studied Paolo Uccello and Fra Filippo, some of whose works were then in Paduan edifices. He gained color knowledge from the Venetian Bellinis, who lived at Padua at one time and who were connected with Mantegna by marriage. But the sculpturesque side of his art came from Squarcione, from a study of the antique, and from a deeper study of Donatello, whose bronzes to this day are to be seen within and without the Paduan Duomo of S.
PORTRAIT-HEAD. ) EXTANT REMAINS: The frescos that are left to us to-day are largely the work of mechanical decorators rather than creative artists. They are to be seen in Rome, in the Baths of Titus, the Vatican, Livia's Villa, Farnesina, Rospigliosi, and Barberini Palaces, Baths of Caracalla, Capitoline and Lateran Museums, in the houses of excavated Pompeii, and the Naples Museum. Besides these there are examples of Roman fresco and distemper in the Louvre and other European Museums. Examples of Etruscan painting are to be seen in the Vatican, Cortona, the Louvre, the British Museum and elsewhere.