Reviews for Idea and image

The average rating for Idea and image based on 2 reviews is 3.5 stars.

Review # 1 was written on 2017-02-02 00:00:00 Christy Kilgore An excellent book that gives us impressive details about the work of art which defines the Renaissance period. Placing himself in multiple angles to take a look at the artists'personal lives within the context of specific societal patterns, Hartt offers us more than enchanting images. He lets us see that the 'humanism' that marked the aesthetic structural elements of the paintings , architectural design and sculptures at that time is a secret ingredient to make a work of art keep its value over centuries. This is a book to be kept on the shelf labeled " magic that never dies". Here are some excerpts form Titian who is well known for the nude of "Venus of Urbino": " This unprecedented interpretation of the female nude must surely have been shocking to some when it was painted, especially in this period when a woman's behavior was controlled by strict social mores, if it represented not Venus but a particular woman or even an ideal example of female beauty." " The young man was also a shrewd businessman who invested his earnings, and by 1531 he was able to buy a palatial residence in Venice, looking out across the lagoons and, on clear days, to the slopes of the Dolomites where he had been born. In 1533, already wealthy and famous, Titian was summoned to Bologna to meet the Holy Roman Emperor Charles Y who made him a count and his children hereditary nobles. In 1545 and 7546 he was in Rome, where he was awarded Roman citizenship on the Capitoline Hill. "

Review # 2 was written on 2009-02-04 00:00:00 Nick Athas Read for my class: Leonardo, Raphael, and their Contemporaries A very good survey. It's difficult to find a good survey, but my professor is literally 90+ years old, so he's had time to look around. This one is very good because it includes more than just the recognized masters, but also their teachers and their influences and predecessors. Additionally, Hartt spends a great deal of time explaining the processes of creating the various types of painting (tempera, oil, on different media) or fresco (buon, secco, etc.) or sculpture, which taught me a great deal. Finally, the glossary in the back has proven very helpful with Italian and Greek terminology for iconographical symbols or parts of altarpieces and other little tidbits. The only downside to this book is the masterworks he chose. I wish there were more variety, but that may have to do with museums and copywrite and nothing to do with Hartt.