{Northern and Southern ‘Renaissance’ [continued]}[23rd April 1991]

[Redbook9:184-185][19910423:0920g]{Northern and Southern ‘Renaissance’ [continued]}[23rd April 1991]

19910423.0920

[continued]

‘… The Southerners were fascinated by the Northerners’ ability to capture light* and to depict nature and human physiognomy in detail. Nevertheless the differences in intention between a painting by Jan van Eyck** and one of similar date by Masaccio (1401-28[ce]) is immense: given a comparable skill in perspective, lighting, the articulation of the human body, and the suggestion of thoughts and emotions, the former draws on the heritage of the Gothic,*** the latter on Classical Antiquity.’****

#

*[See earlier (Vol/s?) [] re the Gothic ‘discovery’ of light, &c]

**(c[irca] 1390-1441[ce])

***{ → [[Redbook9:213-219][19910430:1230#]{Renaissance Sculpture and Classical Influence [continued #]}[30th April 1991],] 214,

[[Redbook9:220-236][19910501:0008#]{Renaissance Architecture [continued #]}[1st May 1991],] 223}

****{ → [[Redbook9:237][19910501:0008#]{The Renaissance (again): Gothic and Renaissance Art}[1st May 1991],] 237}

# – ibid [Encyclopaedia of Visual Art 4:] 624

[See long later footnote in next ts journal entry]

[continued]

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