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賮賳 毓氐乇 丕賱賳賴囟丞
賷鬲乇 賵賱賷賳丿丕 賲賵乇賷 賷賯丿賲丕賳 賮賷 賴匕丕 丕賱賰鬲丕亘 賲爻丨丕賸 卮丕賲賱丕賸 賱賮賳賵賳 毓氐乇 丕賱賳賴囟丞 丕賱賲亘賰乇 丕賱匕賷 卮賴丿 亘毓孬丕賸 卮丕賲賱丕賸 賱賱丌丿丕亘 賵丕賱賮賳賵賳 丕賱鬲賷 賰丕丿鬲 兀賳 鬲賳丿孬乇. 賰賲丕 賷毓乇囟丕賳 鬲賰賵賾賳 丕賱兀爻賱賵亘 賮賷 丕賱賮賳賵賳 賵丕賱匕賷 鬲噩賱賶 賰兀丨爻賳 賲丕 賷賰賵賳 賮賷 兀毓賲丕賱 丿丕賮賳卮賷 賵賲丕賷賰賱 兀賳噩賱賵 賵乇丕賮丕卅賷賱 賰賲丕 賷氐賵乇丕賳 賮賷賴 賱兀賴賲 丕賱賲乇丕丨賱 賮賷 鬲丕乇賷禺 丕賱賮賳賵賳 丕賱鬲卮賰賷賱賷丞 賮賷 丕賱毓丕賱賲.
賵賮賷 毓卮乇丞 賮氐賵賱 賷囟賲賴丕 丕賱賰鬲丕亘 賷毓乇囟 丕賱賰丕鬲亘丕賳 賱賱毓賵丕賲賱 丕賱鬲賷 爻丕賴賲鬲 賮賷 亘毓孬 丕賱乇賵丨 賮賷 丕賱賮賳賵賳 丕賱丨乇丞 丕賱鬲賷 賰丕丿鬲 兀賳 鬲賳丿乇爻 賰丕賱賳丨賵 賵丕賱卮毓乇 賵丕賱亘賱丕睾丞 賵丕賱乇爻賲 賵丕賱亘丨孬 賵丕賱毓賲丕乇丞 賵丕賱賲賵爻賷賯賶 賵丕賱睾賳丕亍. 賵賷乇賶 丕賱賲丐賱賮丕賳 兀賳 丕賱兀賮賰丕乇 丕賱噩丿賷丿丞 鬲爻鬲胤賷毓 兀賳 鬲賮乇囟 賳賮爻賴丕 亘毓丿 兀賳 鬲賵丕噩賴 亘兀賮賰丕乇 兀賯賵賶 賲毓丕乇囟丞 賵賷禺乇噩丕賳 亘丕賳胤亘丕毓 賲賮丕丿賴 兀賳 鬲丕乇賷禺 丕賱賮賳賵賳 賮賷 賮賱賵乇賳爻丕 賮賷 丕賱乇亘毓 丕賱兀賵賱 賲賳 丕賱賯乇賳 丕賱禺丕賲爻 毓卮乇 賴賵 兀賳 兀爻賱賵亘賷賳 賵賱賷爻 兀爻賱賵亘丕賸 賵丕丨丿丕賸貙 賰丕賳丕 賷爻毓賷丕賳 賱廿孬亘丕鬲 賵噩賵丿賴賲丕 賮賷 賲賵丕噩賴丞 丕賱兀卮賰丕賱 丕賱鬲賯賱賷丿賷丞. 賵賷亘乇夭丕賳 亘卮賰賱 賵丕囟丨 賲丿賶 鬲兀孬賷乇 丕賱毓亘丕丿丞 丕賱賲爻賷丨賷丞 賮賷 賮賳 毓氐乇 丕賱賳賴囟丞 賵丕賱匕賷 賷鬲賲孬賱 賮賷 丕賱廿賷賯賵賳賵睾乇丕賮賷丞 丕賱噩丿賷丿丞.
賵賮賷 毓卮乇丞 賮氐賵賱 賷囟賲賴丕 丕賱賰鬲丕亘 賷毓乇囟 丕賱賰丕鬲亘丕賳 賱賱毓賵丕賲賱 丕賱鬲賷 爻丕賴賲鬲 賮賷 亘毓孬 丕賱乇賵丨 賮賷 丕賱賮賳賵賳 丕賱丨乇丞 丕賱鬲賷 賰丕丿鬲 兀賳 鬲賳丿乇爻 賰丕賱賳丨賵 賵丕賱卮毓乇 賵丕賱亘賱丕睾丞 賵丕賱乇爻賲 賵丕賱亘丨孬 賵丕賱毓賲丕乇丞 賵丕賱賲賵爻賷賯賶 賵丕賱睾賳丕亍. 賵賷乇賶 丕賱賲丐賱賮丕賳 兀賳 丕賱兀賮賰丕乇 丕賱噩丿賷丿丞 鬲爻鬲胤賷毓 兀賳 鬲賮乇囟 賳賮爻賴丕 亘毓丿 兀賳 鬲賵丕噩賴 亘兀賮賰丕乇 兀賯賵賶 賲毓丕乇囟丞 賵賷禺乇噩丕賳 亘丕賳胤亘丕毓 賲賮丕丿賴 兀賳 鬲丕乇賷禺 丕賱賮賳賵賳 賮賷 賮賱賵乇賳爻丕 賮賷 丕賱乇亘毓 丕賱兀賵賱 賲賳 丕賱賯乇賳 丕賱禺丕賲爻 毓卮乇 賴賵 兀賳 兀爻賱賵亘賷賳 賵賱賷爻 兀爻賱賵亘丕賸 賵丕丨丿丕賸貙 賰丕賳丕 賷爻毓賷丕賳 賱廿孬亘丕鬲 賵噩賵丿賴賲丕 賮賷 賲賵丕噩賴丞 丕賱兀卮賰丕賱 丕賱鬲賯賱賷丿賷丞. 賵賷亘乇夭丕賳 亘卮賰賱 賵丕囟丨 賲丿賶 鬲兀孬賷乇 丕賱毓亘丕丿丞 丕賱賲爻賷丨賷丞 賮賷 賮賳 毓氐乇 丕賱賳賴囟丞 賵丕賱匕賷 賷鬲賲孬賱 賮賷 丕賱廿賷賯賵賳賵睾乇丕賮賷丞 丕賱噩丿賷丿丞.
243 pages, Paperback
First published January 1, 1963
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About the author
Peter Murray
22听books2听followersLibrarian's Note: This is Peter^^Murray, with each ^ symbol signifying a space.
Born Peter John Murray in London in 1920, he died in 1992 in Farnborough (near Banbury), Warwickshire, United Kingdom.
Peter Murray was Professor of History of Art at Birkbeck, University of London, from 1967 to 1980, and one of the principal founder members of the Association of Art Historians.
He was responsible for establishing history of art as an undergraduate discipline in the College, following Sir Nikolaus Pevsner's teaching of the subject outside a departmental structure.
When he died in 1992, his widow Linda Murray (a distinguished art historian in her own right) established a Bequest to provide funds for student support, research travel and other activities in the then Department of History of Art.
One of these activities has been the biennial Murray Memorial Lecture, which has been delivered by such notable figures as Jonathan Miller, Simon Schama, Neil Macgregor and Christopher Fraying.
The Murray Bequest also supports the Murray Research Studentship.
Born Peter John Murray in London in 1920, he died in 1992 in Farnborough (near Banbury), Warwickshire, United Kingdom.
Peter Murray was Professor of History of Art at Birkbeck, University of London, from 1967 to 1980, and one of the principal founder members of the Association of Art Historians.
He was responsible for establishing history of art as an undergraduate discipline in the College, following Sir Nikolaus Pevsner's teaching of the subject outside a departmental structure.
When he died in 1992, his widow Linda Murray (a distinguished art historian in her own right) established a Bequest to provide funds for student support, research travel and other activities in the then Department of History of Art.
One of these activities has been the biennial Murray Memorial Lecture, which has been delivered by such notable figures as Jonathan Miller, Simon Schama, Neil Macgregor and Christopher Fraying.
The Murray Bequest also supports the Murray Research Studentship.
Ratings & Reviews
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Displaying 1 - 15 of 15 reviews
December 19, 2016
Just a couple of notes about this book.
First, this is not a coffee table book, with the large illustrations and little text typical of that style. My copy, at least, is between a trade paperback and a hardback in size, and so much of the detail is going to be lost. And of the 251 plates, 200 are in black and white, making, again, it difficult to see some of the details. Anyone looking at purchasing this book for the illustrations should probably look somewhere else.
Second, this is not a layman's book. I did read it through, and while there was nothing in it I couldn't understand, I do think it was written to a level that was more advanced than what I was expecting. This I appreciated, though I think readers should be ready to stretch themselves if, like me, their knowledge of the Renaissance is limited. Although Donatello, Durer, Da Vinci, Botticelli, Van Eyck, Raphael, and Michelangelo are emphasized, other artists--mostly unknown to me before--fill up the vast majority of the book.
Third, I think the title is misleading. I don't think there really is a good definition of 'The Renaissance', but this book covers only from the last of the 14th century to the opening decades of the 16th. From the opening chapter, the authors say, "This book is almost entirely about the Early Renaissance, about the formation of that style in the arts, which, culminating in Leonardo da Vinci, Michelangelo, and Raphael, is still generally used as a touchstone of aesthetic quality." Thus, an artist like Titian is only briefly mentioned at the end of the book, and as a lead-in, more or less, for the Murrays' other book in this series, .
Last, the authors' intent is not merely to present the works and sketch some small bit of biographical information on the painters and sculptors. There is that, as well as a smattering of historical information to help integrate the paintings into their times, but the overarching theme of the text is to trace the influences of one artist on another, how regional schools developed and differed, and to highlight technical advancements. Teasing out how any particular artist can be recognized through his techniques was, frankly, beyond my ability, yet the authors wrote of it as if they were addressing a readership who were in lockstep with their points. That is one of the reasons I felt that the book was aimed at a more artistically literate crowd, though it didn't stop me from learning a good deal.
It would take someone more knowledgeable of this period than me to evaluate the book. I believe it is too technical to be used as a general introduction--sometimes it was a bit like trying to catch a moving train for myself, though someone trained in the arts and interested in this time period would probably find a lot of value. I believe I would have been disappointed if I had bought this new (it is still in print), but I found an old copy at a discard sale for a quarter, so I'm not complaining. For the same price, or even a little bit more, I'd pick up the Murrays' next book in the series, simply for the fact that there was a lot of detail on artists I wasn't familiar with in this one, and I think it will be a nice reference to have on my shelves. My biggest wish was that the author's had spent a little more time dissecting some of the iconography rather than on the technical aspects, but it was still worthwhile for me.
First, this is not a coffee table book, with the large illustrations and little text typical of that style. My copy, at least, is between a trade paperback and a hardback in size, and so much of the detail is going to be lost. And of the 251 plates, 200 are in black and white, making, again, it difficult to see some of the details. Anyone looking at purchasing this book for the illustrations should probably look somewhere else.
Second, this is not a layman's book. I did read it through, and while there was nothing in it I couldn't understand, I do think it was written to a level that was more advanced than what I was expecting. This I appreciated, though I think readers should be ready to stretch themselves if, like me, their knowledge of the Renaissance is limited. Although Donatello, Durer, Da Vinci, Botticelli, Van Eyck, Raphael, and Michelangelo are emphasized, other artists--mostly unknown to me before--fill up the vast majority of the book.
Third, I think the title is misleading. I don't think there really is a good definition of 'The Renaissance', but this book covers only from the last of the 14th century to the opening decades of the 16th. From the opening chapter, the authors say, "This book is almost entirely about the Early Renaissance, about the formation of that style in the arts, which, culminating in Leonardo da Vinci, Michelangelo, and Raphael, is still generally used as a touchstone of aesthetic quality." Thus, an artist like Titian is only briefly mentioned at the end of the book, and as a lead-in, more or less, for the Murrays' other book in this series, .
Last, the authors' intent is not merely to present the works and sketch some small bit of biographical information on the painters and sculptors. There is that, as well as a smattering of historical information to help integrate the paintings into their times, but the overarching theme of the text is to trace the influences of one artist on another, how regional schools developed and differed, and to highlight technical advancements. Teasing out how any particular artist can be recognized through his techniques was, frankly, beyond my ability, yet the authors wrote of it as if they were addressing a readership who were in lockstep with their points. That is one of the reasons I felt that the book was aimed at a more artistically literate crowd, though it didn't stop me from learning a good deal.
It would take someone more knowledgeable of this period than me to evaluate the book. I believe it is too technical to be used as a general introduction--sometimes it was a bit like trying to catch a moving train for myself, though someone trained in the arts and interested in this time period would probably find a lot of value. I believe I would have been disappointed if I had bought this new (it is still in print), but I found an old copy at a discard sale for a quarter, so I'm not complaining. For the same price, or even a little bit more, I'd pick up the Murrays' next book in the series, simply for the fact that there was a lot of detail on artists I wasn't familiar with in this one, and I think it will be a nice reference to have on my shelves. My biggest wish was that the author's had spent a little more time dissecting some of the iconography rather than on the technical aspects, but it was still worthwhile for me.
June 12, 2017
賷賯賵賱 鈥徺佖辟娯辟娰� 賳賷鬲卮丞 /
鈥徹Ｘ迟呝� 兀賳賵丕毓 丕賱噩賲丕賱 賱賷爻 匕賱賰 丕賱匕賷 賷賮鬲賽賳購賳丕 毓賱賶 丕賱賮賵乇貙 亘賱 丕賱匕賷 賷鬲爻賱賾賱 廿賱賷賳丕 亘亘胤亍 賳丨賲賱賴購 賲毓賳丕 賵賳丨賳 賱丕 賳賰丕丿 賳卮毓乇 亘賴.
賵賴匕丕 賲丕 賷賮毓賱賴 賮賳 毓氐乇 丕賱賳賴囟丞 丨賷孬 賷鬲爻賱賱 兀賱賷賳丕貙 賷丨賲賱賳丕 賲毓賴貙 賵賷兀禺匕賳丕 賱賱噩賲丕賱.
丕賱賰鬲丕亘 賷丨鬲賵賷 毓賱賶 氐賵乇 兀賴賲 賱賵丨丕鬲 毓氐乇 丕賱賳賴囟丞 賰賲丕 兀賳賴購 賷卮乇丨 丕賴賲 賲乇丕丨賱 賴匕丕 丕賱毓氐乇 賵丕賴賲 賮賳丕賳賷賳賴貙
丕賱賰鬲丕亘 "爻丕丨乇"
鈥徹Ｘ迟呝� 兀賳賵丕毓 丕賱噩賲丕賱 賱賷爻 匕賱賰 丕賱匕賷 賷賮鬲賽賳購賳丕 毓賱賶 丕賱賮賵乇貙 亘賱 丕賱匕賷 賷鬲爻賱賾賱 廿賱賷賳丕 亘亘胤亍 賳丨賲賱賴購 賲毓賳丕 賵賳丨賳 賱丕 賳賰丕丿 賳卮毓乇 亘賴.
賵賴匕丕 賲丕 賷賮毓賱賴 賮賳 毓氐乇 丕賱賳賴囟丞 丨賷孬 賷鬲爻賱賱 兀賱賷賳丕貙 賷丨賲賱賳丕 賲毓賴貙 賵賷兀禺匕賳丕 賱賱噩賲丕賱.
丕賱賰鬲丕亘 賷丨鬲賵賷 毓賱賶 氐賵乇 兀賴賲 賱賵丨丕鬲 毓氐乇 丕賱賳賴囟丞 賰賲丕 兀賳賴購 賷卮乇丨 丕賴賲 賲乇丕丨賱 賴匕丕 丕賱毓氐乇 賵丕賴賲 賮賳丕賳賷賳賴貙
丕賱賰鬲丕亘 "爻丕丨乇"
June 2, 2018
*2.5
This book provides a decent introduction to the big names of the early (15th century) Renaissance, but it does little else. The Murray's clearly know the art well, but in many ways their writing is plagued by outdated connoisseurship and focuses little on the actual history aspect of the art.
Occasionally they do discuss more deeply the relationship between the art and the socio-historical climate but it's mostly just intense descriptions of the styles of various artists. Strangely enough the discussion of printing in the Northern Renaissance was probably the book's highlight, despite the fact that the authors specialise in Italian art.
Overall it's not awful, it just isn't up to contemporary standards of art history (it was published originally in the 60s). I'd only recommend this if you're coming to the subject completely blank and are more interested in the formal aspects of Renaissance art than the historical background that they emerged from.
This book provides a decent introduction to the big names of the early (15th century) Renaissance, but it does little else. The Murray's clearly know the art well, but in many ways their writing is plagued by outdated connoisseurship and focuses little on the actual history aspect of the art.
Occasionally they do discuss more deeply the relationship between the art and the socio-historical climate but it's mostly just intense descriptions of the styles of various artists. Strangely enough the discussion of printing in the Northern Renaissance was probably the book's highlight, despite the fact that the authors specialise in Italian art.
Overall it's not awful, it just isn't up to contemporary standards of art history (it was published originally in the 60s). I'd only recommend this if you're coming to the subject completely blank and are more interested in the formal aspects of Renaissance art than the historical background that they emerged from.
June 23, 2023
There is certainly a lot of knowledge, but it is rather dry and without much context or flow. Doesn鈥檛 quite stimulate to learn more.
November 23, 2019
Knyg膮 skaityti prad臈jau, pagautas akimirkos 寞kv臈pimo pa啪inti ka啪k膮 daugiau nei men膮, besivys膷ius寞 impresionizmo laikais ir v臈liau. Pirmiausia, 啪inoma, 啪av臈jo Tarkovskio meil臈 拧iam laikotarpiui.
Prad啪ioje knyga skait臈si itin sud臈tingai - daug ma啪ai gird臈t懦 pavard啪i懦, terminologija - viskas leido manyti, kad darbas skirtas ne pradedan膷iam, o pa啪engusiam ankstyvojo renesanso gerb臈jui. Visgi, perlipus save ir t臋sus toliau, pagaliau pajutau malonum膮 skaitydamas ir d啪iaugiuos, kad knyga knyga praturtino mane naujomis 啪iniomis apie tok寞 menui svarb懦 ir 寞dom懦 laikotarp寞. 沤inoma, jau dabar jau膷iu, kad vis懦 min臈t懦 pavard啪i懦 tikrai neprisiminsiu, ta膷iau atmintyje i拧liks bent jau 拧iek tiek daugiau konteksto apie toki懦 啪vaig啪d啪i懦 kaip Van Eyck, Donatello, Michalangelo, Da Vinci, Boticelli gyvenim膮, 拧aknis ir 寞kv臈pimo 拧altinius.
Prad啪ioje knyga skait臈si itin sud臈tingai - daug ma啪ai gird臈t懦 pavard啪i懦, terminologija - viskas leido manyti, kad darbas skirtas ne pradedan膷iam, o pa啪engusiam ankstyvojo renesanso gerb臈jui. Visgi, perlipus save ir t臋sus toliau, pagaliau pajutau malonum膮 skaitydamas ir d啪iaugiuos, kad knyga knyga praturtino mane naujomis 啪iniomis apie tok寞 menui svarb懦 ir 寞dom懦 laikotarp寞. 沤inoma, jau dabar jau膷iu, kad vis懦 min臈t懦 pavard啪i懦 tikrai neprisiminsiu, ta膷iau atmintyje i拧liks bent jau 拧iek tiek daugiau konteksto apie toki懦 啪vaig啪d啪i懦 kaip Van Eyck, Donatello, Michalangelo, Da Vinci, Boticelli gyvenim膮, 拧aknis ir 寞kv臈pimo 拧altinius.
May 27, 2021
賮賷 丕賱亘丿丕賷丞 賷噩亘 丕賳 丕匕賰乇 丕賳 賴匕丕 丕賱賰鬲丕亘 賱賷爻 賲賳 賳賵毓賷丞 丕賱賰鬲亘 丕賱鬲賷 賷賲賰賳 賯乇丌鬲賴丕 丿賵賳 鬲乇賰賷夭.. 賴匕丕 丕賱賰鬲丕亘 賷毓鬲賲丿 毓賱賶 丕賱鬲賵丕乇賷禺 丕賱賲鬲賮丕賵鬲丞 賵丕賱賲鬲丿丕禺賱丞 賵毓賱賶 卮乇丨 丕賱爻賲丕鬲 丕賱毓丕賲丞 丕賱鬲賷 乇丕賮賯鬲 賰賱 賮鬲乇丞 毓丕卮 賮賷賴丕 丕丨丿 丕賵賱卅賰 丕賱毓馗賲丕亍 丕賱匕賷 賳賳馗乇 丕賱賷賴賲 丕賱賷賵賲 賰兀賷賯賵賳丕鬲 丕賱賮賳 丕賱匕賷 卮賰賱 賲丕 賵氐賱賳丕 丕賱賷賴 丕賱賷賵賲.. 賰鬲丕亘 卮賷賯 噩丿丕 賵賲賮賷丿 亘卮賰賱 賰亘賷乇..
賲兀禺匕賷 丕賱賵丨賷丿 毓賱賶 毓匕丕 丕賱賰鬲丕亘 丕賳 鬲乇鬲賷亘 丕賱氐賵乇 賱賲 賷賰賳 賲鬲賲丕卮賷丕 丿賵賲丕 賲毓 丕賱賮賯乇丕鬲 丕賱鬲賷 鬲鬲丨丿孬 毓賳 丕賱賲賳丨賵鬲丞 丕賵 丕賱賱賵丨丞.. 賵賴賵 賲丕 賷噩亘乇賳丕 毓賱 丕賱毓賵丿丞 丕賵 丕賱鬲賯丿賲 亘丕鬲噩丕賴 氐賮丨丞 賲毓賷賳丞 丨鬲賶 賳爻鬲胤賷毓 丕賱鬲丨賯賯 賲賲丕 賷鬲賲 丕賱丨丿賷孬 毓賳賴 .. 賮賳 毓馗賷賲 賵毓氐乇 匕賴亘賷 賱丕 賷賲賰賳 丕賳 賷毓丕丿..
賲兀禺匕賷 丕賱賵丨賷丿 毓賱賶 毓匕丕 丕賱賰鬲丕亘 丕賳 鬲乇鬲賷亘 丕賱氐賵乇 賱賲 賷賰賳 賲鬲賲丕卮賷丕 丿賵賲丕 賲毓 丕賱賮賯乇丕鬲 丕賱鬲賷 鬲鬲丨丿孬 毓賳 丕賱賲賳丨賵鬲丞 丕賵 丕賱賱賵丨丞.. 賵賴賵 賲丕 賷噩亘乇賳丕 毓賱 丕賱毓賵丿丞 丕賵 丕賱鬲賯丿賲 亘丕鬲噩丕賴 氐賮丨丞 賲毓賷賳丞 丨鬲賶 賳爻鬲胤賷毓 丕賱鬲丨賯賯 賲賲丕 賷鬲賲 丕賱丨丿賷孬 毓賳賴 .. 賮賳 毓馗賷賲 賵毓氐乇 匕賴亘賷 賱丕 賷賲賰賳 丕賳 賷毓丕丿..
October 2, 2023
Good overview of Renaissance Art, including the northern Renaissance. It was a bit dated (published in 1966)- for example, we now know Michelangelo did not paint the Sistine Chapel ceiling on his back. Also I was frustrated that the photos did not identify the location of the paintings. But still it provided a good review for this art history major.
July 4, 2024
While there are a couple witticisms, the writing is very dry and not very engaging. Plus, the book is very small and as a result, the reproductions (most of which are in black and white) are hard to see and the details are rather obscured. I haven't read any other introductions to Renaissance art, but there must be better ones out there.
September 11, 2024
Concise but largely outdated introduction to Renaissance art in Italy and northern Europe. There are much better books to consult if you are looking to dive into this time period.
April 9, 2025
I can't wait to feel the way your presence sets my entire body on fire. Let's create a night filled with unforgettable sensations, savoring each moment.
August 24, 2019
It's a long time since I read this book for an Open University course on, as far as I remember it, the Italian Renaissance.
On re-reading I was surprised to find the nealy half the book actually covers the Northern Renaissance as well - these must have been the sections ignored in the set reading.
Hence this is a better book than I remembered as it covers, and cuts between, the two renaissances chapter by chapter.
The many illustrations aren't of the absolute highest quality - mainly black and white -but serve as examples for the text, which also references others that aren't included.
All in all, though, still a good introduction despite its age.
On re-reading I was surprised to find the nealy half the book actually covers the Northern Renaissance as well - these must have been the sections ignored in the set reading.
Hence this is a better book than I remembered as it covers, and cuts between, the two renaissances chapter by chapter.
The many illustrations aren't of the absolute highest quality - mainly black and white -but serve as examples for the text, which also references others that aren't included.
All in all, though, still a good introduction despite its age.
September 10, 2014
Very informative and useful. A knowledgeable and inspiring book. For an "older" book, it has plenty of good quality reproductions of the works discussed.
January 27, 2015
Interesting and detailed insight into the renaissance period, the artists and their work.
October 14, 2016
Un tr猫s bon ouvrage de synth猫se, id茅al pour des 茅tudiants de Premier Cycle d茅sireux de se forger une vision d'ensemble.
June 15, 2017
This is not a coffee table book; it is a rigorous analysis of the period. However, it should be emphasised that the book deals with the Early Renaissance and its Late Gothic antecedents; High Renaissance is the subject of their second study.
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