By Dillian Gordon
. lge fmt, 1981 illus, 2223pp
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Additional resources for 100 Great Paintings - Duccio to Picasso
It is, in fact, only through an iconographic association with such pictures as The Entombment by Rogier van der Weyden (now in the Uffizi, Florence), which Michelangelo may have seen Medici collection, that the subject-matter is identifiable. Michelangelo's response to classical sculpture was profound, and in the this instance 1506 a it Roman is possible to identify a specific prototype. digging in a vineyard discovered the Laocodn, antique statue of a priest and his strangled to death intertwined figures that 56 it On two sons, struggling in agony 14 in January a classical as they are by writhing snakes.
They seem to have wandered in from the margins of a Gothic illuminated manuscript. The scroll has, as far as is known, never had any lettering, although it may have been intended to receive the artists signature. Pisanello worked chiefly in Verona, for the d'Este family in Ferrara, for the Gonzaga family in Mantua, and for Alfonso V at the Neapolitan court. As well as being a painter, he was skilled at casting medallions and the head of St. Eustace here seen in profile is closely related to his medallion portraits of such people as Lionello d'Este and Sigismondo Malatesta.
34 "#,"4,' 35 Italian School Paolo c. 20 Paolo Uccello, Paul the Bird, was so called because he loved birds, and kept his house full of pictures or birds, as well as of cats and dogs. And he loved perspective. The 16th-century biographer, Vasari, grumbled that Uccello would have been the most captivating and imaginative painter to have lived since Giotto, 'if only he had spent as much time on human figures and animals as he spent, and wasted, on the finer points of Here the broken lances arranged artificially on the ground lead toward a single vanishing point, and show Uccello, like the other contemporary Florentine painters, preoccupied with the possibilities of perspective'.