{[Gothic Art (2):] The Discovery of Light (2), Space and Expression}[13th March 1991]

[Redbook8:317-318][19910313:1000]{[Gothic Art (2):] The Discovery of Light (2), Space and Expression}[13th March 1991]

19910313:1000

*‘As with all Gothic decorative art, the changes are in the direction of greater realism. By the end of the 13^th century [ce], painters in Rome, such as Pietro Cavallini,** and probably Duccio in Tuscany, had discovered, like their contemporaries in Paris,*** the use to which light could be put in figure modelling. The Italian painters also made sudden and unexpected advances in the manipulation of perspective**** to describe the space of the scenes they were painting. More than this, the best painters developed an extraordinary ability to create figures that communicate with each other by gesture and expression: the work of the Isaac Master in the upper church at Assisi is an especially good example.’

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*(Italian Gothic)

[after c1300]#

**[See [Redbook8:341-342][19910315:1000cc]{[Gothic Art (3) [continued (6)]] Saintly Kings [continued (6)]}][15th March 1991]]

***{ref [[Redbook8:338-343][19910315:1000#]{[Gothic Art (#):] Saintly Kings}[15th March 1991],] 342}

****{cf [[Redbook8:335-336][19910315:1000r][Gothic Art (2)(continued (36))][15th March 1991],] 336,

[[Redbook8:345-350?][19910315:1000#]{[Gothic Art (#):] The Discovery of Light (3), Space and Expression (2)}[15th March 1991],] 345}

#E[ncyclopaedia Britannica] 25:340-1

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