[Gothic Art (3) [continued (11):]] (Italian Gothic Art to c[irca] 1350[ce] [continued]) [15th March 1991]

[Redbook8:345-346][19910315:1000ii][Gothic Art (3) [continued (11):]] (Italian Gothic Art to c[irca] 1350[ce] [continued]) [15th March 1991]

19910315.1000

[continued]

‘The change is from the stylization and decorative patterns of an art still dominated by Byzantine traditions to something in which lifelike qualities were accepted as desirable. Given the preceding developments in the North and the example set by the Tuscan sculptors, the fact that this happened at all is not surprising. The models available to the painter, however, produced a development towards realism that achieved a scale quite different from anything that had happened in the North. It is still not clear how far the impulse towards the particular sort of change came from Constantinople itself, and how far it was stimulated by the study of late antique frescoes on the basilicas of Rome. The result, however, was a new appreciation of the role of light* and linear perspective in the manipulation of space, and a new vocabulary of gesture and expression in the human figure.’

**

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

[(probably) [Redbook8:336-337][19910315:1000t][Gothic Art (2)(continued (39))][15th March 1991],] 336}

**– ibid [Encylopaedia of Visual Art 4]: 612

[continued]

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