Der Maler von Florenz Vom dreizehnten bis zum sechzehnten Jahrhundert. jährigen andflowing Blättern - Arbeit der Vorhänge sind curiouslylike Ghibertis Reliefs. Aber in den Szenen von theBaptists Leben gibt es weit mehr des Neuen Realismus. Der täufer vor Herodes ist ein feines andimposing Abbildung, und die Tätigkeit des Soldaten whostrikes seinen Kopf im Gefängnis ist einzigartig wellrendered, obwohl die Struktur der Formen stillvague und unsicher ist, und die Gliedmaßen und Details der Hände und Füße sind oft schlecht gezeichnet. Theshivering junge wickelt seine gelben Mantel aroundhim, in der Taufe Christi

• Bildanbieter: The Reading Room / Alamy Stock Foto
• Bild-ID: 2AKJK4D
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• Format: 1333 x 1875 px | 22,6 x 31,8 cm | 8,9 x 12,5 inches | 150dpi

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The painters of Florence from the thirteenth to the sixteenth century . olds andflowing scroll-work of the draperies are curiouslylike Ghibertis reliefs. But in the scenes from theBaptists life there is far more of the new realism.The Baptist standing before Herod is a fine andimposing figure, and the action of the soldier whostrikes off his head in prison is singularly wellrendered, although the structure of the forms is stillvague and uncertain, and the limbs and details ofthe hands and feet are often badly drawn. Theshivering boy wrapping his yellow cloak aroundhim, in the Baptism of Christ, and the man withhis back turned towards us in the act of pullingoff his shirt, are plainly adapted from Masacciosfamous fresco in the Carmine, and are both excel-lently drawn; the figure of Christ, again, standing* inthe stream of Jordan, is not without a certaingrandeur; but the arms of the Baptist are too short, and his whole form is awkward and ill-proportioned.Perhaps the most effective subject of the whole seriesis that of Salome before Herod. Here the story is. 1447] BAPTISTERY FRESCOES 83 told with a naive sincerity, mingled with a new senseof actuality, which are very characteristic of MasoHno.Herod and his guests are seated at table, under aclassical loggia, decorated with a frieze of cherubsbearing garlands, such as Jacopo della Querela hadcarved on Ilaria del Carrettos tomb at Lucca, twentyyears before, and Salome, a gentle and modest maiden, with arms folded across her breast, advances to profferher request to the king. The two fashionably dressedcourtiers behind her closely resemble the figures inthe Raising of Tabitha, in the Brancacci Chapel, and in the fine profile of the middle-aged man, withthe short beard and moustache, we recognise theportrait of Masolino himself, as painted by Masaccioin his fresco of the Healing of the Cripple, and repro-duced by Vasari in his life of the artist. The agedpriest with the keen face and white hair, seated nextto Herod at dinne

Stockbilder mithilfe von Tags suchen

• bookcentury1900
• bookdecade1900
• bookyear1901
• buchunterlagenmaler