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Color and Meaning: Practice and Theory in Renaissance Painting download epub

by Marcia B. Hall


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Hall's book is. more interesting when such questions are less at issue. The first chapters provide admirably.

lation of color and technique to style. Hall claims that the disciplinary shift towards social history and iconology has reduced the. degree of attention given to the "physical object" (xi), and indeed she is right, but to treat. Hall's book is.

Essential book for serious artists and teachers of the craft of Renaissance painting. Covers the into of Oil painting, modes of coloring in the Cinquecento. Mannerism, Counter Reformation, Venice and the development of Tonal Painting

Essential book for serious artists and teachers of the craft of Renaissance painting. Mannerism, Counter Reformation, Venice and the development of Tonal Painting. Hard to find copies of this book, no one wants to sell them. Must have book for serious teachers of the craft of oil painting in the Renaissance period. Many color illustrations, accurate facts from a true scholar.

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Unione was developed by Raphael, who exemplified it in the Stanza della Segnatura. Unione is similar to sfumato, but is more useful for the edges of chiaroscuro, where vibrant colors are involved

Marcia Brown Hall, American art historian, educator. Color and Meaning: Practice and Theory in Renaissance Painting.

Marcia Brown Hall, American art historian, educator. Member College Art Association, 16th Century Studies, Renaissance Society of America.

Color and Meaning: Practice and Theory in Renaissance Painting. Introduction Marcia B. Hall Part I. Before Rome: 1. Young Raphael and the practice of painting in Renaissance Italy Jeryldene M. Wood 2. From the Court of Urbino to the Curia and Rome: Raphael an. More). T. Mark Willette, Marcia B. Hall. Recent restoration campaigns, particularly to the Sistine Chapel, have focused attention on the importance of colour in our experience of paintings, but until recently it has been neglected by ar.

wrote that colour composition is the "true alchemy of painting," an observation that aptly introduces the combined .

wrote that colour composition is the "true alchemy of painting," an observation that aptly introduces the combined themes of science and magic, of natural materials and their erudite artistic manipulations which a history of colour in painting would seem to touch upon. In the Preface to her informative study, Marcia Hall explains the inversion of her title (from theory and practice) and her aim to treat picture- making primarily in the physical sense.

Hall, Marcia (1994). Earls, Irene (1987). Renaissance Art: A Topical Dictionary. Cambridge University Press. ISBN 978-0-521-45733-0. p. 263. ISBN 0-313-24658-0. Leonardo da Vinci: anatomical drawings from the Royal Library, Windsor Castle, exhibition catalog fully online as PDF from The Metropolitan Museum of Art, which contains material on this technique (see index).

How can a deeper understanding of colour theory and esoterica help us to think about the uses of colour in art? Save to Library.

Marcia Hall is the Laura H. Carnell Professor of Renaissance Art. She is a teacher and scholar of Italian Renaissance painting who has written widely on. . Cambridge, England: Cambridge University Press. She is a teacher and scholar of Italian Renaissance painting who has written widely on painting in the sixteenth century, Raphael, Michelangelo and those who followed them. Her other particular interest is technical art history, especially the way painters used color.

Recent restoration campaigns, particularly to the Sistine Chapel, have focused attention on the importance of colour in our experience of paintings, but until recently it has been neglected by art historians. The author believes that the work of art can only be fully appreciated when it is regarded as the product of both the artist's hand and mind. This study utilizes the traditional sources, such as contemporary theoretical writings and iconographical analysis, but in addition draws on the scientific findings of the conservation laboratories. This is a new body of data assembled in large part since World War II, which art historians are only beginning to exploit to fill out the history of technique. Rather than writing merely a history of technique, however, the author has integrated this material with traditional approaches to cultural history. She undertakes to examine twenty major paintings of the period from Giotto to Tintoretto to elucidate how colour and technique contribute to their meaning. She gives us then, the first modern consideration of Renaissance paintings both as physical objects and as monuments of cultural history.

Comments: (4)

Steelraven
Serious book for serious painters and I highly recommend the book.
Zeks Horde
An absolutely stunning attempt to give meaning to an artist's choice of color; it's all good, but see particularly her chapter on the generally much-maligned Perugino.
Uris
This is the sort of book on art history and analysis that some right-wingers hate. They believe that the aesthetics of religious art of the past should be principally involved with religious meanings. Nothing in this book, to my memory, precludes the possibility of such an analysis. But it allows a lover of great paintings to really understand the the powerful way that the balance in pictures is crucial to their effect. Those with larger amplitudes in aesthetic understanding can discern that some of this notion of balance may have developed in relation to more esoteric or kabbalaistic understandings of balance than those of orthodox Catholicism which actually funded them. Such is the complexity of art history. After I read this book I never looked at a Renaissance painting the same way again, and especially not the one on the cover, which I look at all the time at the National Gallery. Shortly after reading it we took a trip to Italian hilltowns and I felt that I had more powerful eyes. What a splendid work of scholarship. One of the best I have ever read.
Anarus
I WILL ONLY WRITE, THAT AS A PAINTER, THIS BOOK SERVES TO CREATE NOT ONLY HISTORICAL CONTEXT OF RENAISSANCE PAINTING, BUT ENRICHES THAT HISTORY WITH THOROUGH EVALUATION OF THE CURRENT USE OF SCIENTIFIC/CONSERVATION METHODS TO BETTER UNDERSTAND HOW AN ARTIST'S TECHNIQUE IS INTEGRAL TO UNDERSTANDING THE INTENT OF THE ARTIST AND THE MEANING IN A PIECE OF ARTWORK. IT REPRESENTS AN IMPORTANT BREAKTHROUGH IN MODERN ART HISTORY THROUGH ITS ATTEMPT TO EXPLAIN THE IMPORTANCE OF TECHNIQUE, COLOR THEORY, AND THEIR SERVICE TO CONTENT IN THE RENAISSANCE. DR. HALL'S OTHER BOOK (ALSO OUT OF PRINT, ALAS), WHICH IS A SERIES OF ESSAYS BY PEOPLE IN THE FIELD, SHOULD ALSO BE IN PRINT: "COLOR AND TECHNIQUE IN RENAISSANCE PAINTING: ITALY AND THE NORTH".
Color and Meaning: Practice and Theory in Renaissance Painting download epub
History & Criticism
Author: Marcia B. Hall
ISBN: 0521392225
Category: Arts & Photography
Subcategory: History & Criticism
Language: English
Publisher: Cambridge University Press; First Edition first Printing edition (March 27, 1992)
Pages: 288 pages