By John C. van Dyke
John Charles van Dyke (1856-1932) was once an American artwork historian and critic. He used to be born at New Brunswick, N. J., studied at Columbia, and for a few years in Europe. together with his ebook chronicling the historical past of portray from cave work to the fashionable period. totally illustrated.
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Additional resources for A Text-Book of the History of Painting (Illustrated Edition)
From working in the Umbrian country his influence upon his fellow-Umbrians was large. -1523), whose master he was, and whose style he probably formed. Signorelli was Umbrian born, like Piero, but there was not much of the Umbrian sentiment about him. He was a draughtsman and threw his strength in line, producing athletic, square-shouldered figures in violent action, with complicated foreshortenings quite astonishing. The most daring man of his time, he was a master in anatomy, composition, motion.
It decried the human, the flesh, and the worldly. It would have nothing to do with the beauty of this earth. Its hopes were centred upon the life hereafter. The teaching of Christ was the humility and the abasement of the human in favor of the spiritual and the divine. Where Hellenism appealed to the senses, Hebraism appealed to the spirit. In art the fine athletic figure, or, for that matter, any figure, was an abomination. The early Church fathers opposed it. It was forbidden by the Mosaic decalogue and savored of idolatry.
The type alone was given. In the drawing it was not so good as that shown in the Roman and Pompeian frescos. There was a mechanism about its production, a copying by unskilled hands, a negligence or an ignorance of form that showed everywhere. The coloring, again, was a conventional scheme of flat tints in reddish-browns and bluish-greens, with heavy outline bands of brown. There was little perspective or background, and the figures in panels were separated by vines, leaves, or other ornamental division lines.