Masterpieces in Colour: Botticelli
Masterpieces in Colour: Botticelli by Henry Bryan Binns; Illustrated with Eight Reproductions in Colour; edited by T. Leman Hare
CONTENTS
Illustration: Botticelli
Plate 1.--The Birth of Venus. From The Tempera on Canvas In The Uffizi.
Illustration: Plate 1.--The Birth of Venus.
Plate 2.--Spring. (From The Tempera on Wood in the Florence Academy)
Illustration: Plate 2.--Spring.
Chapter 1.
Plate 3.--Portrait of a Man. (From the Panel in the Florence Academy)
Illustration: Plate 3.--Portrait of a Man.
Plate 4.--The Madonna of the Magnificat, Known Also As the Coronation of the Virgin. (From the Tondo in the Uffizi)
Illustration: Plate 4.--The Madonna of the Magnificat, Known Also As the Coronation of the Virgin.
Chapter 2.
Plate 5.--The Madonna of the Pomegranate. (From the Tondo in the Uffizi)
Illustration: Plate 5.--The Madonna of the Pomegranate.
Plate 6.--The Annunciation. (From the Panel in the Uffizi)
Illustration: Plate 6.--The Annunciation.
Chapter 3.
Plate 7.--The Virgin and Child with St. John and an Angel. (From the Panel in the National Gallery)
Illustration: Plate 7.--The Virgin and Child with St. John and an Angel.
Chapter 4.
Plate 8.--The Virgin and Child by an Open Window. (From the Panel in the National Gallery)
Illustration: Plate 8.--The Virgin and Child by an Open Window.
Chapter 5.
Introduction
From Florence, in the second half of the fifteenth century, men looked into a new dawn. When the Turk took Constantinople in 1443, the “glory that was Greece” was carried to her by fleeing scholars, and she became for one brilliant generation the home of that Platonic worship of beauty and philosophy which had been so long an exile from the hearts of men. I say Platonic, because it was especially to Plato, the mystic, that she turned, possessed still by something of the mystical intensity of her own great poet, himself an exile. When, in 1444, Pope Eugenius left her to return to Rome, Florence was ready to welcome this new wanderer, the spirit of the ancient world. And the almost childish wonder with which she received that august guest is evident in all the marvellous work of the years that followed, in none more than in that of Sandro Botticelli.
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CONTENTS
Illustration: Botticelli
Plate 1.--The Birth of Venus. From The Tempera on Canvas In The Uffizi.
Illustration: Plate 1.--The Birth of Venus.
Plate 2.--Spring. (From The Tempera on Wood in the Florence Academy)
Illustration: Plate 2.--Spring.
Chapter 1.
Plate 3.--Portrait of a Man. (From the Panel in the Florence Academy)
Illustration: Plate 3.--Portrait of a Man.
Plate 4.--The Madonna of the Magnificat, Known Also As the Coronation of the Virgin. (From the Tondo in the Uffizi)
Illustration: Plate 4.--The Madonna of the Magnificat, Known Also As the Coronation of the Virgin.
Chapter 2.
Plate 5.--The Madonna of the Pomegranate. (From the Tondo in the Uffizi)
Illustration: Plate 5.--The Madonna of the Pomegranate.
Plate 6.--The Annunciation. (From the Panel in the Uffizi)
Illustration: Plate 6.--The Annunciation.
Chapter 3.
Plate 7.--The Virgin and Child with St. John and an Angel. (From the Panel in the National Gallery)
Illustration: Plate 7.--The Virgin and Child with St. John and an Angel.
Chapter 4.
Plate 8.--The Virgin and Child by an Open Window. (From the Panel in the National Gallery)
Illustration: Plate 8.--The Virgin and Child by an Open Window.
Chapter 5.
Introduction
From Florence, in the second half of the fifteenth century, men looked into a new dawn. When the Turk took Constantinople in 1443, the “glory that was Greece” was carried to her by fleeing scholars, and she became for one brilliant generation the home of that Platonic worship of beauty and philosophy which had been so long an exile from the hearts of men. I say Platonic, because it was especially to Plato, the mystic, that she turned, possessed still by something of the mystical intensity of her own great poet, himself an exile. When, in 1444, Pope Eugenius left her to return to Rome, Florence was ready to welcome this new wanderer, the spirit of the ancient world. And the almost childish wonder with which she received that august guest is evident in all the marvellous work of the years that followed, in none more than in that of Sandro Botticelli.
Masterpieces in Colour: Botticelli
Masterpieces in Colour: Botticelli by Henry Bryan Binns; Illustrated with Eight Reproductions in Colour; edited by T. Leman Hare
CONTENTS
Illustration: Botticelli
Plate 1.--The Birth of Venus. From The Tempera on Canvas In The Uffizi.
Illustration: Plate 1.--The Birth of Venus.
Plate 2.--Spring. (From The Tempera on Wood in the Florence Academy)
Illustration: Plate 2.--Spring.
Chapter 1.
Plate 3.--Portrait of a Man. (From the Panel in the Florence Academy)
Illustration: Plate 3.--Portrait of a Man.
Plate 4.--The Madonna of the Magnificat, Known Also As the Coronation of the Virgin. (From the Tondo in the Uffizi)
Illustration: Plate 4.--The Madonna of the Magnificat, Known Also As the Coronation of the Virgin.
Chapter 2.
Plate 5.--The Madonna of the Pomegranate. (From the Tondo in the Uffizi)
Illustration: Plate 5.--The Madonna of the Pomegranate.
Plate 6.--The Annunciation. (From the Panel in the Uffizi)
Illustration: Plate 6.--The Annunciation.
Chapter 3.
Plate 7.--The Virgin and Child with St. John and an Angel. (From the Panel in the National Gallery)
Illustration: Plate 7.--The Virgin and Child with St. John and an Angel.
Chapter 4.
Plate 8.--The Virgin and Child by an Open Window. (From the Panel in the National Gallery)
Illustration: Plate 8.--The Virgin and Child by an Open Window.
Chapter 5.
Introduction
From Florence, in the second half of the fifteenth century, men looked into a new dawn. When the Turk took Constantinople in 1443, the “glory that was Greece” was carried to her by fleeing scholars, and she became for one brilliant generation the home of that Platonic worship of beauty and philosophy which had been so long an exile from the hearts of men. I say Platonic, because it was especially to Plato, the mystic, that she turned, possessed still by something of the mystical intensity of her own great poet, himself an exile. When, in 1444, Pope Eugenius left her to return to Rome, Florence was ready to welcome this new wanderer, the spirit of the ancient world. And the almost childish wonder with which she received that august guest is evident in all the marvellous work of the years that followed, in none more than in that of Sandro Botticelli.
CONTENTS
Illustration: Botticelli
Plate 1.--The Birth of Venus. From The Tempera on Canvas In The Uffizi.
Illustration: Plate 1.--The Birth of Venus.
Plate 2.--Spring. (From The Tempera on Wood in the Florence Academy)
Illustration: Plate 2.--Spring.
Chapter 1.
Plate 3.--Portrait of a Man. (From the Panel in the Florence Academy)
Illustration: Plate 3.--Portrait of a Man.
Plate 4.--The Madonna of the Magnificat, Known Also As the Coronation of the Virgin. (From the Tondo in the Uffizi)
Illustration: Plate 4.--The Madonna of the Magnificat, Known Also As the Coronation of the Virgin.
Chapter 2.
Plate 5.--The Madonna of the Pomegranate. (From the Tondo in the Uffizi)
Illustration: Plate 5.--The Madonna of the Pomegranate.
Plate 6.--The Annunciation. (From the Panel in the Uffizi)
Illustration: Plate 6.--The Annunciation.
Chapter 3.
Plate 7.--The Virgin and Child with St. John and an Angel. (From the Panel in the National Gallery)
Illustration: Plate 7.--The Virgin and Child with St. John and an Angel.
Chapter 4.
Plate 8.--The Virgin and Child by an Open Window. (From the Panel in the National Gallery)
Illustration: Plate 8.--The Virgin and Child by an Open Window.
Chapter 5.
Introduction
From Florence, in the second half of the fifteenth century, men looked into a new dawn. When the Turk took Constantinople in 1443, the “glory that was Greece” was carried to her by fleeing scholars, and she became for one brilliant generation the home of that Platonic worship of beauty and philosophy which had been so long an exile from the hearts of men. I say Platonic, because it was especially to Plato, the mystic, that she turned, possessed still by something of the mystical intensity of her own great poet, himself an exile. When, in 1444, Pope Eugenius left her to return to Rome, Florence was ready to welcome this new wanderer, the spirit of the ancient world. And the almost childish wonder with which she received that august guest is evident in all the marvellous work of the years that followed, in none more than in that of Sandro Botticelli.
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Product Details
| BN ID: | 2940014776158 |
|---|---|
| Publisher: | Denise Henry |
| Publication date: | 06/08/2012 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 40 |
| File size: | 619 KB |
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