Artificial Nature
Studies in World Art, Book 14
Falha ao colocar no Carrinho.
Falha ao adicionar à Lista de Desejos.
Falha ao remover da Lista de Desejos
Falha ao adicionar à Biblioteca
Falha ao seguir podcast
Falha ao parar de seguir podcast
Assine e ganhe 30% de desconto neste título
R$ 19,90 /mês
Artificial Nature
Compre agora por R$ 10,99
Nenhum método de pagamento padrão foi selecionado.
Pedimos desculpas. Não podemos vender este produto com o método de pagamento selecionado
-
Narrado por:
-
Gerard Marquez
Sobre este áudio
It is a historical peculiarity of landscape painting that it begins with the artificial, and only after that proceeds towards the natural. For example, landscape paintings, and especially fanciful Nilotic panoramas, were one of the genres produced by artists in Pompeii. When, with the Renaissance, landscape painting once again started to establish itself after a long interval, the representations of the surrounding world that artists began to produce as a separate and independent genre, rather than simply as a background for human figures, were usually more fanciful than real.
Giorgione’s Tempestá, for example, which is more landscape than figure painting, is conspicuous for this artificial quality. This is also true of some of the best-known works of Nicolo dell’Abate - among them the beautiful Death of Euridyce in the National Gallery, London.
©2014, 2019 Cv Publications (P)2019 Cv Publications