Reinhard Steiner and Robert Savage
- Published in print:
- 2011
- Published Online:
- August 2013
- ISBN:
- 9780262015523
- eISBN:
- 9780262295840
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262015523.003.0012
- Subject:
- Philosophy, General
This chapter discusses the topographical landscape of the fifteenth century and the so-called world landscape of the early sixteenth century as exemplified in Ambrogio Lorenzetti’s frescoes of Good ...
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This chapter discusses the topographical landscape of the fifteenth century and the so-called world landscape of the early sixteenth century as exemplified in Ambrogio Lorenzetti’s frescoes of Good and Bad Government in the Palazzo Pubblico in Siena. It shows how Lorenzetti’s vision is distinct from the “topocosmos” of the Middle Ages, as shown in the study of the history of the pictorial imagination. In Civilization of the Renaissance in Italy Jacob Burckhardt coined the memorable phrase “all foreground without distance” that applies to the visual conventions used to represent nature and landscape in the pictorial arts of the Middle Ages. However, there can be no landscape without a horizon in the distance; therefore, the discovery of perspective becomes the sole criterion for the development of landscape painting.Less
This chapter discusses the topographical landscape of the fifteenth century and the so-called world landscape of the early sixteenth century as exemplified in Ambrogio Lorenzetti’s frescoes of Good and Bad Government in the Palazzo Pubblico in Siena. It shows how Lorenzetti’s vision is distinct from the “topocosmos” of the Middle Ages, as shown in the study of the history of the pictorial imagination. In Civilization of the Renaissance in Italy Jacob Burckhardt coined the memorable phrase “all foreground without distance” that applies to the visual conventions used to represent nature and landscape in the pictorial arts of the Middle Ages. However, there can be no landscape without a horizon in the distance; therefore, the discovery of perspective becomes the sole criterion for the development of landscape painting.
Blair Hoxby
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780198769774
- eISBN:
- 9780191822605
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198769774.003.0005
- Subject:
- Literature, Milton Studies, 17th-century and Restoration Literature
Jonathan Richardson’s reading of Milton prepared him to be the first author to write a theory of the sublime in the fine arts. Conversely, his preoccupations as a collector and connoisseur not only ...
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Jonathan Richardson’s reading of Milton prepared him to be the first author to write a theory of the sublime in the fine arts. Conversely, his preoccupations as a collector and connoisseur not only armed him to defend the authority of the first edition of Paradise Lost, they made both father and son acutely alive to the visual qualities of Milton’s verse. Yet because the Richardsons took Milton seriously as a pictorial poet and graphic artist, they were acutely aware of the indeterminate manner of Milton’s most sublime imagery. This insight was consequential to the history of aesthetic thought. For the Richardsons ensured that Milton would become a crucial point of reference in the eighteenth century’s disputes about the limits of poetry and painting, the characteristics of ancient and modern art, and the nature of the sublime.Less
Jonathan Richardson’s reading of Milton prepared him to be the first author to write a theory of the sublime in the fine arts. Conversely, his preoccupations as a collector and connoisseur not only armed him to defend the authority of the first edition of Paradise Lost, they made both father and son acutely alive to the visual qualities of Milton’s verse. Yet because the Richardsons took Milton seriously as a pictorial poet and graphic artist, they were acutely aware of the indeterminate manner of Milton’s most sublime imagery. This insight was consequential to the history of aesthetic thought. For the Richardsons ensured that Milton would become a crucial point of reference in the eighteenth century’s disputes about the limits of poetry and painting, the characteristics of ancient and modern art, and the nature of the sublime.
