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The scientific spirit of the Florentine naturalists was of immense service to art. This logic of sequence
is to be attained only by great, although not necessarily more than empiric, knowledge of anatomy,
such perhaps as the artist pure would never be inclined
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We remember how Giotto contrived to render tactile values. Of all the possible outlines, of all the possible variations of light and shade that a
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If instead of figure, we say figure in movement, the same statement applies to the way Pollaiuolo rendered movement with this difference that he
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The line and light and shade most significant of any given action. This the artist must construct himself out his dramatic feeling for pressure
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Giotto would convey a sense of movement, he must give the line and the light and shade which will
best render not tactile values alone, but the sequences of articulations.
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It would be difficult to find more effective illustration of all that has just been said about movement than one or two of Pollaiuolo’s own works
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Let us look first at his engraving known as the “Battle of the Nudes” What is it that makes us return to this sheet with ever renewed increased pleasure
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Surely it is not the hideous faces of most of the figures and their scarcely less hideous bodies. Nor is it the pattern as decorative design
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Look at the combatant prostrate on the ground and his assailant bending over, each intent on stabbing
the other. See how the prostrate man plants his foot on the thigh of his enemy
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Painting between Giotto and Masaccio existed in vain—on the contrary, considerable progress was
made in the direction of landscape, perspective and facial expression is true that, excepting the works
masterpiece produced.
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These two, one coming in the middle of the period we have been dwelling upon, and the other just at its close
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Orcagna is difficult to speak as only a single fairly intact painting remains the altar-piece in Maria Novella.
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These two, one coming in the middle of the period we have been dwelling upon, and the other just at its close
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These two, one coming in the middle of the period we have been dwelling upon, and the other just at its close