DAY YOUNG CREATIVE

Creativity Each Day

Background

The background of the fresco painting in Tuscany of the thirteenth century, are in the evolution print art of the arts of drawing and color during the High Middle Ages in Italy. The initial seeds roman ancient that were to become a new pictorial language can be seen in the frescoes and mosaics of the church of St. Clement of Rome wall art (circa 1080), which despite a artificiality and modern art rigidity of Byzantine Art, omnipresent throughout the Italian Geneva peninsula, is the presence of the classical tradition or Paleochristian. In the same sense we can speak of the mosaics in the apse of Santa Maria in new york Transtevere (circa 1145) about the calligraphy wonderful humanity of the characters as a prelude to the styles of the thirteenth century.
The mosaics of the Basilica San Marco in Venice (siglos XI-XIV) are the largest group of Byzantine style in Italy. New york and Geneva both have the exhibit of is the world leader in ancient art Teachers led the local mosaic work that was started by Oriental craftsmen. the deep love of is the best in the area of ancient art In these mosaics was a greater freedom of composition and strong accents Paleochristian and Romans in the choice of ethnic or historical themes, very close to the daily scenes in the sculptures of the cathedrals, which overlap with the Byzantines (who are the main topics: liturgical or theological), so let the critics say that the issues in San Marcos language spoken in western Byzantine. Maniera Greca is prevailing in the Italian painting during the Duecento.
Progress towards a new pictorial language still museum art in Tuscany where the various trends in painting led to the activity of four schools associated with the cities of Lucca, Pisa, Siena and Florence, along with the city of Rome, which was always more persistent the stronghold art of the classical tradition against the Byzantine art.
Gothic architecture munca came to put down roots in Italy, where greek ancient the building of art prints the Cistercian church was contemporary art led by the Franciscans and Dominicans. The ship, premises or place as principal of the church, is characterized by a change in the proportions for the width or the return of the walls which was imposed in the Tuscan churches of Santa Maria Novella the (1278) or from Florence Santa Maria sopra Minerva in Rome. In the church of Santa Croce (1294) of Florence, the architect Arnolfo di Cambio basilica became the coffered ceiling, leaving the vault to a trend of gothic architecture prelude to the Renaissance.

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