By R. R. Palmer
Because the new name displays, Palmer’s A background of Europe within the glossy World keeps its well-established old authority, whereas focusing extra in particular on Europe’s favorite position in sleek international exchanges, kingdom construction, transnational advertisement structures, colonial empires, and cultural transitions. Combining concise debts of particular countries and nationwide modifications with a wide-ranging, comparative research of overseas occasions, this up-to-date version of a vintage textual content conscientiously examines the entire sleek historical past of Europeans and their forever altering societies.
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Botticelli, "Birth of Venus," 1482, Uffizi, Florence. Botticelli drew undulating lines and figures with long necks, sloping shoulders, and pale, soft bodies. 34 THE REBIRTH OF ART: RENAISSANCE AND BAROQUE THE ITALIAN RENAISSANCE H E R O E S O F T H E H I G H R E N A I S S A N C E . In the sixteenth century, artistic leadership spread from Florence to Rome and Venice, where giants like Leonardo, Michelangelo, and Raphael created sculpture and paintings with total technical mastery. Their work fused Renaissance discoveries like composition, ideal proportions, and perspective — a culmination referred to as the High Renaissance (1500-1520).
The Villa Rotonda incorponumerical ratios, such as the 2:1 ratio of a nave rated Greek and Roman details like twice as high as the width of a church. Layouts relied porticos with Ionic columns, a flaton geometric shapes, especially the circle and tened dome like the Pantheon, and square. rooms arranged symmetrically around a central rotunda. Brunelleschi, Pazzi Chapel, 1440-61, Florence. Palladio, Villa Rotonda, begun 1550, Vicenza. 39 40 THE REBIRTH OF ART: RENAISSANCE AND BAROQUE THE NORTHERN RENAISSANCE In the Netherlands as well as in Florence, new developments in art began about 1420.
I GIOTTO: PIONEER PAINTER Because Italy maintained contact with Byzantine civilization, the art of painting was never abandoned. But at the end of the 13th century, a flowering of technically skilled painting occurred, with masters like Duccio aad Simone Martini of Siena and Cimabue and Giotto of Florence breaking with the frozen Byzantine style for softer, more lifelike forms. The frescoes (paintings on damp plaster walls) of Giotto di Bondone (pronounced JOT toe; c. 1266-1337) were the first since the Roman period to render human forms suggesting weight and roundness.