{The Renaissance (again)}{– Gothic and Renaissance Art}[1st May 1991]

[Redbook9:237-243][19910501:0800oo]{The Renaissance (again)}{– Gothic and Renaissance Art}[1^st May 1991]

19910501:0800

[continued]

*

**‘...The main reason for the pre-eminence of Florence proves that Renaissance art cannot be treated in a vacuum. Her primacy stems from the activities of intellectuals like Petrarch, Boccaccio, and Coluccio Salutate, whose study of the antique and its relevance to contemporary life in fields as diverse as philology, epigraphy, law, and mythology in the 14^th century [ce] prepared the way for further emulation of antique art. There is no satisfactory explanation *** of why a classical style was not conclusively adopted in the age of Petrarch;**** or of why, after the work of Nicola Pisano (fl[ourished] 1258-78[ce]) and Giotto,# the preferred style of the 14^th century [ce] should be a version of Gothic, which survived into the 15^th century [ce] (and then formed an important element in the style of Lorenzo Ghiberti (1378-1455[ce]), as International Gothic). One suggestion has been that a return to traditional modes of art was a consequence of the Black Death.

#*

*See E[ncyclopaedia of] V[isual] A[rt] 4:626-7 re Piero Della Francesca’s ‘The Flagellation of Christ’

**See↑

[(presumably) [Redbook9:180][19910422:0825]{Renaissance}[22nd April 1991],] 180,

[[Redbook9:184-185][19910423:0920f]{Northern and Southern ‘Renaissance’}[23rd April 1991]ff,] 184→[185][;]

[[Redbook9:214][19910430:1230d]{Renaissance Sculpture (and Classical Influence) [continued (4)]}[30th April 1991](&ant?),] 214,

[[Redbook9:223][19910501:0800h]{Renaissance Architecture [continued (8)]}[1^st May 1991],] 223

***NB

****(ie the 14^th c[entury] [ce])

#(1266-1337[ce])

#* – E[ncyclopaedia of] V[isual] A[rt] 4:628

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