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  • Crucifix of C. 1235-40 in S. Francesco at Assisi. There Is As Yet No

    Загружено:

    Jesús Lorenzo Vieites
    13 просмотров1 страница
    The figure on the S. Gimignano Crucifix reflects the gentle curve and standing posture seen in Giunta Pisano's 1235-40 crucifix in Assisi. There is no trace yet of the more pronounced sway developed later by Pisarello in works in Pisa and Bologna. The slimmer forms and greater sway of Coppo's figure, closer to Giunta's later works, show Coppo's innate conservatism rather than needing space for additional scenes as demanded by patrons.

    Исходное описание:

    on the life of di marcovaldo

    Оригинальное название

    On Coppo

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    The figure on the S. Gimignano Crucifix reflects the gentle curve and standing posture seen in Giunta Pisano's 1235-40 crucifix in Assisi. There is no trace yet of the more pronounced sway developed later by Pisarello in works in Pisa and Bologna. The slimmer forms and greater sway of Coppo's figure, closer to Giunta's later works, show Coppo's innate conservatism rather than needing space for additional scenes as demanded by patrons.

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    © All Rights Reserved
    Скачайте в формате DOCX, PDF, TXT или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    13 просмотров1 страница

    Crucifix of C. 1235-40 in S. Francesco at Assisi. There Is As Yet No

    Загружено:

    Jesús Lorenzo Vieites
    The figure on the S. Gimignano Crucifix reflects the gentle curve and standing posture seen in Giunta Pisano's 1235-40 crucifix in Assisi. There is no trace yet of the more pronounced sway developed later by Pisarello in works in Pisa and Bologna. The slimmer forms and greater sway of Coppo's figure, closer to Giunta's later works, show Coppo's innate conservatism rather than needing space for additional scenes as demanded by patrons.

    Авторское право:

    © All Rights Reserved
    Скачайте в формате DOCX, PDF, TXT или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    из 1

    On Coppo

    The figure on the S. Gimignano Crucifix only reflects the gentle curve
    and almost standing posture in such works as Giunta Pisanos signed
    Crucifix of c. 1235-40 in S. Francesco at Assisi. There is as yet no
    trace of the more pronounced sway develop by Pisarello in his later
    signed works in the Museo Civico at Pisa and in S. Domenico at
    Bologna. The proof that this is due as much to Coppos innate
    conservatism as to any need to leave sufficient space for the
    subsidiary scenes that may have demanded by his patrons lies in the
    slimmer forms and greater sway, approximating to that in Giuntas
    later works.

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