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Slo fines educativos - Lennyteka
Slo fines educativos - Lennyteka
r lS S
visual joumey from Fra Angelico ro Andy Warhol
harJotte Gedin .
ARCTURUS
Slo fines educativos - Lennyteka
CoVER I ll.USTlIA:rtOSS
ArtiSI<' I' 0<tr.irs, kf, 10 right:
",I' ",," I'.ul Cz.tnne, Ed, .. ,,] ,\ lunch, \r,nCt:n, ,'an Gogh.
I'aul Rubcns, Angdi", Ka uffi"ann,
)ean_Aug"' .. : Ingn:s, Iknhe ,\ lor i,OI
11Hl::e ern'rll imagcs: D<"t:I.il f",m Tb. Gardm afEnrtbly DdigblJ
hy Ilic",n}""u. ]k,sch: Maria litil by Lco.,."k, ,1. \ r,ne: ,bail
fr",,, Tb. C'bair muJ rb. Pi/" by \ r,,..,rn, ,"n Gogh
Ro"om rO,,': ,,1 ,\ 1.0 oc, , ) "hn_R'I" iS!c Co",t, Reml",,,,,],
, .. n Rijn, Fran<sco Gura, ). ""1)(' "I'n'o.-ct"', P.ul G.uguin,
I la". ,he Youngc r, Ral'had Sami, )<.ol", Scll COh"an,
Eugt:ne Dehcro;x
W
ARCTURUS
Arcmms l' ublL'<lling Li m il('<.I
26/27 Bid:e ls Ya rd
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foulsham
w. Fotll.'<llam & Co. LId,
T h.; I'ubli.shing H Oll" C, Ikntlcm CI05<:, Cipp<: nhatll,
Slough, Bcrl . .J-Jir<: SLl :'AP, Englatld
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Slo fines educativos - Lennyteka
CONTENTS
lntroduction 6 Giotto di Hondonc
"
Pecre ... CJ3rJ
"S
Giron. Tho"",. 7S Picas,." Pablo
'SO
Angdico, Frn S Goya, Frnncisco ro Picro Odia Frnllcesca
'"
Anguissola, Soronisb. W El Greco S, Pollocl Jadson
'"
Arcimboldo, G ;"''''PI'''
"
Grnc"'a1d, ,\bthias
"'
Popo"a, Liulx", 156
Bdlini, CoiovalUli
"
HaL<. Frnns SO Poussin , Nimios
""
Blake, \\r,lIiam
"
Hiroshigc, Ando SS Pu,'is de Pierre-
Bonhcur, Rosa
'S
Hockncy. David 90 Ccile
'6<J
Bosch, Hieronymus 10 Hodler, Ferditl3lld 91 Ral,hacl S.mi 162
Botticdli , S,ndeo 11 HOg"lrth. \\"lIi ,m
'"
Rcmbrnndr nn Rijn
'"
Boncher, F"",<;<>is
"
Holrusai, K>l<ushika % Renoir, Pierre AuguSle
'"
Bruegd, Pie,er 10 J-[oll>ei", HallS ,he YOUllger 98 Ron.",.u, Henr;
""
Can.lctro, Antonio
'S
Homer, \\" "s lo",
'00
Rubcn<. Peler Pan]
'70
C.r<waggio, ,\ Iichel.ngdo JO De Hooch. Pieler
'01
S"",so\', Alexci m
CzaIUlC. Paul )l /-[0l'per, Edward
""
Schiele, Egon
'"
Cltardin, Jem- H In gres, Je.n-Augu.<le
""
Seu,.,.!, Georges no
Cimabue, J6 Kandin.<L:y, Wassil y
".
S!ubb.<, Gcorll"
""
Claude LOlT'Jin JS K3uffinann,
"O
Tinroreuo, Jacol'" 'SO
Cole, Thomo< <O Klim! , Gustav
'"
Tirian
'"'
Con<!able, John 41 Leonardo Ih Vinei
'"
Turner,Josel,h ,\hllord
Coro!, Jeon -lhl,risre 44 Lorenzeui , Ambrogio
'"
\\r,lIi.m ,"4
COln13n, John Sdl 46 ,\ be, Augus!e
"S
Uccdlo, 186
Courbe! , c,ust,,,'e 4S ,\ bgriue. Ren 120 Van Der Wcyden, Rogier ,"S
Crnnach , Lueas me Elder 50 ,\Jalcl'ieh, K3simir
'"
\'iln Dyel:. Anrhony
,9<)
Dali, Salvador 51
,\Jane!, Edouard
'"
\'iln Eyd:, Jan 192
D,vid, Jacques -Louis 54
,\bn!egn;}, Andrea
'lO
\'iln Gogh. Vineenr
'"
Deg>s, E<1g>r
"
,\brtini, Simone
""
VeI.zquez, Diego de Silva y 196
DeI:>eroix, Eugme
5"
,\lasaecio, TOnlll13SO
"O
Vermeer, Joltanne..
"S
Ducciodi Buonin<egn. 00 ,\laris<e, /-Ienri
'"
Veronese. Paolo
'00
Drcr, Albrech!
"
,\Iichd.ngdo Buon.rrori ,)4
Andy 202
Eakin<, Thomas
"
,\lillai<.John E.,Cf'CU ,JO Anroine
'04
Friedrieh. ('.:I<Ila/' David ("- ,\Iodigli.ni, Amedeo
""
\ Vltisrler. J.mes Abbou
Thoma< 68 ,\Iondrian. Pie!
,.,
,\b'\'eill 206
Paul 70 ,\ Ione!. Oaude
'"
C,enrileschi, AJ1eml";' 72 ,\ Ioriso!, ReJ1he
"4
GriClUh, Thodore 74 ,\IWlCh,
'"
,\d:nOldedgemen !S 70S
Slo fines educativos - Lennyteka
INTRODUCTION
l
e is a plcasant bu[ far from simple tasI,: to pid: one nundrcd \,'Tcat' from hundR..:Is
of otbers. Evcryonc has a rangc of favouritcs, and a gL"{)gI'aphiGl l sprcad is ncccssary [oo.
With che carlysctdcrs, che Europcan 3rt tl'adition crosscd thcAdantic to [ne Ncw \Vorld,
and travdlcd ",icn u'adcrs to che Far East. This 1I00k hclps to show now [hat tradition was rc-
intcrprctcd in diffcrcnt !oQltions. InL"VitahIy, my editors and I had to makc many rc!uctant
omissions, ami che constrai nts of copyright affcctc.:\ che choice of twcnticth-ccntury and
contcmpol'JI)' artists. Howcvcr, che [hat follows is intcndc<i to take on a
"idc-I'Jnging j ournLj' through che smry of wcstero art, ""eh [he aid of one nundfl"{[ cxamplcs
of ies lcading For [he mos[ pare, [hL]' have traincd, inspired or inl1uencetl one
another from the thirteenth century to the present day. It is a fJscinating, Lver-tlL"Vc!oping
part of our ives that we sha11 never ti re of looking aL
Majar crhihitions are a feature of g'dll eri es in every principal city now3lLiys. CUl'dtors put
years of pbnning ami negotiation into assemhling shows of both old and
modern masters, whose works are horrowetl antl tl'dnsportL-d a11 m'er the worltl. ye[ we must
rememher that we can go to the S3me g'dl kries at other times, smply to Vil"W their standing
cxhibitions; and the youngest of gall ery visitors are often b"ven a special wc!cotlle. N ational
and provinci al gall eries not on!y house hnmus works hut also b"ve us the opportunity to
tliscover the paintings of less wc!l - Imown artists. These peopk frl"tluendy \\"Orkl-d alongside
the b'Teat natlles, sharing ideas ani! techniques, sometimes in
che rok of teacher o r pupi l.
Standing in front of a Renai ssance picture hy the likes of
Botticc!li Of Mantegna, for c.nmple, it is hartl to itllab"ne that
the painters and sculptors we admire were o rib"nal!r
cbssifietl as 'mere' Cl'dftsmen. ,\ 'Iost came from humble
backgrounds antl were acceptetl into a studio around the age
of nine. At first, they earnetl thei r keep by deaning and
running errands, graduall r working up from apprentice to
jaurnLym,n and fina11y master. The fresco painter Qnnini
has kft this tl aunting account of the Renaissance apprentice's
t l'Ji ning SChl-duk 'St art fin"!: of al! by grinding colours,
1"N!ail [rom The ,\ Iystc N:ot >; ty (/500) by
Sandro BamUi
Slo fines educativos - Lennyteka
hoiling up giue, mixing pl aster, then going on to prepare pands, re-
touching them, polishing them, applying gold leaf, learning how to
gl'Jin. Then another six years to .. 1:udy the w;e of co!our, the
application of to find out how to paint d!"aperies and folds
and how to work in fresco. And aU che time you muse p!"actise
drawing .. work-tby and feast-tl ay.'
If an artist b'faduated to sct up his O\\Tl studio, me proccss beg:m al!
over ag-Ji n with ,WJrms of apprentires "uIToundeJ hy me too[s and
matcrials of me in pUl"!.uit of lucr.ltive commissions. The
ma"1:ers who became Court painters had rJther moresecurity - as long
as thLj' pleasL-.:i tbeir patrons - but tbeir WJS orren tbat of a
selVIDt o r r Jbce workman. Some fresm paintel', ror c.\::Jmp!e, were
p:li d only by the amount of wal! theycovereJ. OeGIsionally, an astute
artist like CI'JlJach or Ruhens was elL-vatcd to the rIDk of diplomat.
The more we examine tbe b>Teat artises of al! perioas, che more we
appreciate that, no matter how suhlime their work, thLj' were
toUChl-.:i hy the L-venes of histol"y as much as the next persono Their
lives were disrupted by wars, tl'Jnsfofmed hy scientific discoveries,
{ut short by tbe tlll-.:iiL"val p!3b'lle or twentietb-century influenza.
To treat our subjeces as fu Uy as possible, each one occupies ther
/"N,,,,I ,,,Jml r"", M .. rie de
Medici Di scmb ...
M"rseillcs After M:.orri.oge
To Henry IVof Fr .... "" by
p,," P"u! RuJm" (1622- 2 5)
own doub!e-page spread cont'Jining two pictures, a commentary and a timeline that poines to
the pri ncipal L-venes of his or her life. The sc!ection of some !ess familia r picturcs will, I hope,
hroaden appreciation and encourage a frcsh approach. OCC"Jsional!y, I have combinl-.:i a par,
where the connection is particu! arly interesting o r useful. \Vhere the commentary mentions
an anist with his or hef own entry in che book, chat name appears in bold type fOf easy
rcference. Fo r tbe same feason, the arr.mgement is al phabetiGl I, incidental!y making for some
remarbh!e neghbours.
It is hope.:[ that this book may he enjoYl".:[ as: rl"ferl"nce by student.s and pr.ctising anises,
and a comp:mion to tbe genera! reader who !oves looking at pictures anJ is intercstl-.:i in
finaing out bow ski ll s and personal st}1e come through n service of the creatve process.
Charlotte lOO,
Slo fines educativos - Lennyteka
/187(')
/407
/409_/4
/4/4-/8
/4/9_1f
/4JJ
/416-4f
/447-49
/449_fZ
/4H
FRAANGELlCO
Bo.-n Guno di
iR Vi"bio di
MUg<Uo, TW<lmy
EnutT /)(}mini"m
mORMlrJ al
Fi"d" JUar
No"""
Papal pdiri,u"ik
monh ro F()h'gR<J,
in Umbria
PlaK''' dr"" ,b,,"
ro Corro""
R"""", long_tu,"
lo Fi"d"
ha G;',,'anni
Comm'IJiORM ro
paim rb,
Linenw".-kers'
T,il")'eh
C"mmiIJioJUd Ir
C",imo tk' MulSd.
dmm"" Cm''''''
01 S/VI \JlITco,
FI()"""
Int'iud 10 Rom, Ir
Po/" Eugmiw Iv.
Pain" ponrai, </
VII </
Frana
B'gi", fr,x<n in
Cap<Ua di S/VI
Bri=io, On'i"o
TriR .. d"o Ro,",
,;:itb pupil Go;::",li
10 paim pJ<fJU 01
ss S,,!,bm and
un::r"',, in
I llriam', Cap<Ua
Ni"di""
R"ur'" 10 Fi""k,
&,,,d Prior
Rmum 10 Ro,",
,;:b", br di"
Dqtosition ofChri., (d"ai!) (14J6-4f)
Tbr fr"''''' in lbr "m-mI </ S/VI Marro drnJnl"d botb ,b,
"',"munal 'P""I mili ,b, nun,' pit'"u alb. ,;:b,,,, rbry
"."" dmg",d '" ,nrourag' m,dil",i"". h a Ang<h',Q"
'7'-;"'" '" an il/umi"""'r ,IMt.":! in bi, lbin. pro"
appJicarion 01 paim. 1, "'a, /VI itkal ,""bod lo.- dw';ling
"'ingfalbff'! /VId ,,"bro<dny, and ".,1/ ""ud ro
baaground fa"'"", ", ,/",,::n in lbi, d"ail