Pittura di luce: la manière claire dans la peinture du Quattrocento
This thesis starts from an 1990 Florentine exhibition called "Pittura di luce" which intended to identify a trend in the mid-15th-century Florentine painting. This "painting of light" is not only, as was said at the time, a "coloured style" led by Fra Angelico and Domen...
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| Format: | Abschlussarbeit Elektronisch E-Book |
| Sprache: | French |
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| Zusammenfassung: | This thesis starts from an 1990 Florentine exhibition called "Pittura di luce" which intended to identify a trend in the mid-15th-century Florentine painting. This "painting of light" is not only, as was said at the time, a "coloured style" led by Fra Angelico and Domenico Veneziano, but it should be extended to a more "white manner", from Masaccio to the first works of Andrea del Verrocchio, in the early 1470s. The technical and symbolical meanings of this style are to be studied as they reinforce the sense and the coherence of a trend publicly sustained by the Medici. The major aim of the "pittura di luce" is to make "emerge" religious paintings from the darkness of the churches (I). The study of the vast but also discontinuous geographical development of this "bright style" amplifies the hypotheses of the Florentine case: as much as a modern way of painting, it has very often a more archaic connotation of divine light. Piero della Francesca is surely the major figure of this ambivalent development (II). He is also one of the most significant examples of the way in which the "pittura di luce" was forgotten, and then rediscovered during the 19th and 20th centuries, thanks to art historians and artists, but also to the changes of the conditions of vision of the works of art. In this sense, the "pittura di luce" is an important chapter of the history of look, that we propose to compare with other rediscoveries of similar "paintings of apparition" (III) |
| Beschreibung: | 1 Online-Ressource (380, 46 S., [ca. 200] Bl.) zahlr. Ill. |
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| 520 | |a This thesis starts from an 1990 Florentine exhibition called "Pittura di luce" which intended to identify a trend in the mid-15th-century Florentine painting. This "painting of light" is not only, as was said at the time, a "coloured style" led by Fra Angelico and Domenico Veneziano, but it should be extended to a more "white manner", from Masaccio to the first works of Andrea del Verrocchio, in the early 1470s. The technical and symbolical meanings of this style are to be studied as they reinforce the sense and the coherence of a trend publicly sustained by the Medici. The major aim of the "pittura di luce" is to make "emerge" religious paintings from the darkness of the churches (I). The study of the vast but also discontinuous geographical development of this "bright style" amplifies the hypotheses of the Florentine case: as much as a modern way of painting, it has very often a more archaic connotation of divine light. Piero della Francesca is surely the major figure of this ambivalent development (II). He is also one of the most significant examples of the way in which the "pittura di luce" was forgotten, and then rediscovered during the 19th and 20th centuries, thanks to art historians and artists, but also to the changes of the conditions of vision of the works of art. In this sense, the "pittura di luce" is an important chapter of the history of look, that we propose to compare with other rediscoveries of similar "paintings of apparition" (III) | ||
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| spelling | Rowley, Neville Verfasser aut Pittura di luce la manière claire dans la peinture du Quattrocento Neville Rowley Paris 2010 1 Online-Ressource (380, 46 S., [ca. 200] Bl.) zahlr. Ill. txt rdacontent c rdamedia cr rdacarrier Paris, Université Paris-Sorbonne, Diss., 2010 This thesis starts from an 1990 Florentine exhibition called "Pittura di luce" which intended to identify a trend in the mid-15th-century Florentine painting. This "painting of light" is not only, as was said at the time, a "coloured style" led by Fra Angelico and Domenico Veneziano, but it should be extended to a more "white manner", from Masaccio to the first works of Andrea del Verrocchio, in the early 1470s. The technical and symbolical meanings of this style are to be studied as they reinforce the sense and the coherence of a trend publicly sustained by the Medici. The major aim of the "pittura di luce" is to make "emerge" religious paintings from the darkness of the churches (I). The study of the vast but also discontinuous geographical development of this "bright style" amplifies the hypotheses of the Florentine case: as much as a modern way of painting, it has very often a more archaic connotation of divine light. Piero della Francesca is surely the major figure of this ambivalent development (II). He is also one of the most significant examples of the way in which the "pittura di luce" was forgotten, and then rediscovered during the 19th and 20th centuries, thanks to art historians and artists, but also to the changes of the conditions of vision of the works of art. In this sense, the "pittura di luce" is an important chapter of the history of look, that we propose to compare with other rediscoveries of similar "paintings of apparition" (III) Renaissance 15e siècle Lumière dans l'art Couleur dans l'art Perception visuelle dans l'art Goût (esthétique) Histoire du regard Peinture italienne / 15e siècle / Thèses et écrits académiques ram Arts de la Renaissance / Thèses et écrits académiques ram Peinture / Technique / Thèses et écrits académiques ram (DE-588)4113937-9 Hochschulschrift gnd-content http://www.e-sorbonne.fr/sites/www.e-sorbonne.fr/files/theses/Rowley_Neville_2010_these.pdf Universität kostenfrei Volltext |
| spellingShingle | Rowley, Neville Pittura di luce la manière claire dans la peinture du Quattrocento Renaissance 15e siècle Lumière dans l'art Couleur dans l'art Perception visuelle dans l'art Goût (esthétique) Histoire du regard Peinture italienne / 15e siècle / Thèses et écrits académiques ram Arts de la Renaissance / Thèses et écrits académiques ram Peinture / Technique / Thèses et écrits académiques ram |
| subject_GND | (DE-588)4113937-9 |
| title | Pittura di luce la manière claire dans la peinture du Quattrocento |
| title_auth | Pittura di luce la manière claire dans la peinture du Quattrocento |
| title_exact_search | Pittura di luce la manière claire dans la peinture du Quattrocento |
| title_full | Pittura di luce la manière claire dans la peinture du Quattrocento Neville Rowley |
| title_fullStr | Pittura di luce la manière claire dans la peinture du Quattrocento Neville Rowley |
| title_full_unstemmed | Pittura di luce la manière claire dans la peinture du Quattrocento Neville Rowley |
| title_short | Pittura di luce |
| title_sort | pittura di luce la maniere claire dans la peinture du quattrocento |
| title_sub | la manière claire dans la peinture du Quattrocento |
| topic | Renaissance 15e siècle Lumière dans l'art Couleur dans l'art Perception visuelle dans l'art Goût (esthétique) Histoire du regard Peinture italienne / 15e siècle / Thèses et écrits académiques ram Arts de la Renaissance / Thèses et écrits académiques ram Peinture / Technique / Thèses et écrits académiques ram |
| topic_facet | Renaissance 15e siècle Lumière dans l'art Couleur dans l'art Perception visuelle dans l'art Goût (esthétique) Histoire du regard Peinture italienne / 15e siècle / Thèses et écrits académiques Arts de la Renaissance / Thèses et écrits académiques Peinture / Technique / Thèses et écrits académiques Hochschulschrift |
| url | http://www.e-sorbonne.fr/sites/www.e-sorbonne.fr/files/theses/Rowley_Neville_2010_these.pdf |
| work_keys_str_mv | AT rowleyneville pitturadilucelamaniereclairedanslapeintureduquattrocento |