The panel paintings of Masolino and Masaccio : the role of technique
著者
書誌事項
The panel paintings of Masolino and Masaccio : the role of technique
5 Continents, c2002
大学図書館所蔵 全8件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references
内容説明・目次
内容説明
The combination of detailed technical studies with art historical insight sheds new light on the life, oeuvre, and working methods of two great Italian Renaissance masters: Masolino and Masaccio.
A team from the Opificio delle Pietre Dure, the great conservation institute in Florence, joined by colleagues from the National Gallery in London and the Philadelphia Museum of Art examined all their panel paintings in European and American museums with special single sheet X-radiographs and infrared reflectographic scanning equipment. Thanks to these methods, the researchers were able to enter into the painting technique of these artists in ways that even a few years before would not have been possible.
The study has lead to a greater understanding of the artists' collaboration and their chronology. It has also been possible to reconstruct more precisely a number of altarpieces and also question earlier reconstructions for Masaccio's Pisa altarpiece of 1426. Fine examples of Masaccio's underdrawing have been revealed as well as Masolino's innovative use of oil mediums. But the book is not only technical; all technical information has been correlated to art historical concerns about early Renaissance art such as the role of the guilds, the nature of collaboration between artists and other craftsmen, and the relationship between patron and artist. In fact, the book shows how a detailed technical study can answer or open up many questions that have previously been the purview of art historians who never knocked on the door of a laboratory.
The book contains technical entries for each of the paintings as well as photographs of their fronts and backs, X-radiographs, and infrared reflectograms. The introduction by Carl Brandon Strehlke summarizes the results and reviews the usefulness of laboratory research for this type of art history. An essay by Roberto Bellucci and Cecilia Frosinini interweaves a social and documentary history of the two artists' lives with a technical study of their paintings. Jill Dunkerton and Dillian Gordon's essay is on the vicissitudes of the Pisa altarpiece and problems of its reconstruction. Strehlke and Mark Tucker's essay on the Santa Maria Maggiore altarpiece discusses the two artists' last collaboration. There are also specific essays by Bellucci and Frosinini on the Carnesecchi and San Giovenale altarpieces. A glossary defines the many technical terms.
The book has been conceived for a general reading public and not necessarily only specialists on technique or historians of early Renaissance art.
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