By John C. van Dyke
John Charles van Dyke (1856-1932) was once an American paintings historian and critic. He used to be born at New Brunswick, N. J., studied at Columbia, and for a few years in Europe. together with his booklet chronicling the heritage of portray from cave work to the fashionable period. totally illustrated.
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Additional resources for A Text-Book of the History of Painting (Illustrated Edition)
This looks very much like realism, but we must not lay too much stress upon it. The painters were taking notes of natural appearances. It showed in features like the hands, feet, and drapery; but the anatomy of the body had not yet been studied, and there is no reason to believe their study of the face was more than casual, nor their portraits more than records from memory. No one painter began this movement. The whole artistic region of Italy was at that time ready for the advance. That all the painters moved at about the same pace, and continued to move at that pace down to the fifteenth century, that they all based themselves upon Byzantine teaching, and that they all had a similar style of working is proved by the great difficulty in attributing their existing pictures to certain masters, or even certain schools.
Spinello Aretino, Life of St. Benedict S. , Barbarossa frescos Palazzo Publico Sienna; Andrea da Firenze, Church Militant, Calvary, Crucifixion Spanish chapel, Upper series of Life of S. Raniera Campo Santo Pisa. SIENNESE—Guido da Sienna, Madonna S. Domenico Sienna; Duccio, panels Duomo and Acad. Sienna, Madonna Nat. Gal. , altar-piece and Madonna Opera del Duomo Orvieto; Lippo Memmi, frescos Palazzo del Podesta S. Gemignano, Annunciation Uffizi Florence; Bartolo di Fredi, altar-pieces Acad. Sienna, S.
The small altar and panel pictures were painted in distemper, the gold ground and many Byzantine features being retained by most of the painters, though discarded by some few. : The advance of Italian art in the Gothic age was an advance through the development of the imposed Byzantine pattern. It was not a revolt or a starting out anew on a wholly original path. When people began to stir intellectually the artists found that the old Byzantine model did not look like nature. They began, not by rejecting it, but by improving it, giving it slight movements here and there, turning the head, throwing out a hand, or shifting the folds of drapery.