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By Heinrich Wölfflin

Conceptos fundamentales de los angeles historia del arte responde a los angeles necesidad de ordenar y conceptuar l. a. gran cantidad de hechos y datos que surgen en el estudio del arte y su evolución histórica. A través de un rico análisis comparativo entre obras del Renacimiento y del Barrco, el crítico suizo Heinrich Wölfflin (1864-1945) llega a l. a. caracterización de los dos estilos por l. a. generalización de sus diferencias, que formulation por pares de conceptos contrapuestos: lo lineal enfrentado a lo pictórico, lo superficial a lo profundo, los angeles forma abierta a l. a. cerrada, los angeles pluralidad frente a l. a. unidad, l. a. claridad absoluta ante su atenuación como intento de concentrar y dirigir l. a. percepción. Estas diferencias caracterizan tanto el estilo own de un artista como un estilo de época. Wölfflin intenta así establecer las pautas para una Historia del Arte en los angeles que se pueda seguir en sus distintas fases los angeles génesis de l. a. visión moderna en todas sus manifestaciones: pintura, escultura, decoración y arquitectura. Un libro clásico y de utilidad permanente por el entrenamiento que, con su capacidad analítica, proporcionará no solo a los estudiosos del arte, sino a los que simplemente quieran aprender a disfrutar de él.

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During his partnership with Michelozzo, Donatello carried out independent commissions of pure sculpture, including several works of bronze for the baptismal font of San Giovanni in Siena. The earliest and most important of these was the Feast of Herod (1423–27), an intensely dramatic relief with an architectural background that first displayed Donatello’s command of scientific linear perspective, which Brunelleschi had invented only a few years earlier. To the Siena font Donatello also contributed two statuettes of Virtues, austerely beautiful figures whose style points toward the Virgin and angel of the Santa Croce Annunciation, and three nude putti, or child angels.

1452–66). Such compositions as can be reconstructed confirm the traditional view of Squarcione as one of the channels through which the early Renaissance style of Florence diffused in Padua. More significant than his painting, however, was his establishment of a private school, a place for learning that differed from the traditional workshop and apprenticeship. According to Scardeone, Squarcione had 137 pupils. One of the noteworthy features of his school was his inclination to adopt the more skilled students and enlist them in painting for him.

Three subjects merit particular attention: a Resurrection, a coronation of the Virgin, and, especially, a gentle Annunciation, presented on a bare white gallery, with St. Peter Martyr in prayer, timidly facing the group, his coloured habit contrasting with the delicate two tones of pink in the garments of the Virgin and the Angel. The cells, originally hidden from public view because of monastic vows of reclusion, reveal the secret joy of the painter-friar in creating figures of purity to move his fellow friars to meditation and prayer.

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