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Agostino Sienna, Annunciation Sienna Acad.
The Siennese who came the nearest to
Giottos excellence were thebrothers Ambrogio (fl.
The Church was the patron,
and art was only theservant, as it had been from the beginning.
Religion was
not violently embraced as in theMiddle Ages, but there was no revolt. ;
Ghirlandajo, frescos Sistine Chapel Rome, S. -1523), whose master he was,
andwhose style he probably formed. With the fifteenthcentury the horizon began
to brighten.
-1475), Andrea Castagno (1390-1457), Benozzo Gozzoli(1420? The
Hohenstaufen power was broken, the imperial rule in Italywas crushed.
The one
showedFlorentine line, the other Umbrian sentiment and color.
Nor was there so
muchattempt to shake them off as at Florence. Later on, his work had a
Raphaelesque tinge,showing perhaps the influence of that rising master. Not to
attaingreat learning, but to revel in great splendor, seems to have beentheir
aim.
Toward the beginning of the fifteenth century the school ratherdeclined.
;
Filippino, frescos Carmine Florence, Caraffa Chapel Minerva Rome, S. Thereis
little known about them except that they worked together in asimilar manner.
In
1440 the Greek was taught in five cities.
Florence; Lorenzo di Credi, Nativity
Acad.
There was no such thing then as artfor arts sake. The Church held the
power andwas still the patron of art. Toward the beginning of the fifteenth
century the school ratherdeclined.
His strength camemore from assimilation than
from invention. FLORENTINE SCHOOL: The Florentines were draughtsmen more
thancolorists.
The whole artistic region of Italywas at that time ready for the
advance. He was,however, a master-draughtsman, and a man of large conceptions
andgreat strength.
; Giovanni Santi, Annunciation Milan, Pieta Urbino, Madonnas
Berlin, Nat. Jacopo tra Fossi Florence, panel pictures Florence Acad. Itwas his
business to transcribe what had gone before. Inthe fifteenth century these
schools counted for little either in menor in works. -1523), a painter inboth
oil and fresco of much severity and at times grandeur of style.
FLORENTINE
SCHOOL: The Florentines were draughtsmen more thancolorists. The painters were
taking notes of natural appearances. The Siennese who came the nearest to
Giottos excellence were thebrothers Ambrogio (fl. Perugia; Fiorenzo di Lorenzo,
many pictures Acad.
Not to attaingreat learning, but to revel in great
splendor, seems to have beentheir aim. ; Andrea Castagno, heroes and sibyls
Uffizi, altar-piece Acad.
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