Paolo Uccello
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Paolo Uccello's works have long fascinated the public; yet academic opinion has been uncomfortable with his status as a Renaissance artist. His often fantastical compositions, his experiments with perspective, his sympathy with the Gothic, his strange and secretive character, all excluded him from the austere, realist, heroic tradition exemplified by Brunelleschi, Masaccio and Alberta. This illustrated study sets out to explore the mysterious genius of Uccello. A catalogue raisonne brings together all his surviving works. Many of these, such as the famous "Battle of San Romano" panel in the National Gallery, London, are presented in full-colour foldouts, and other lesser-known paintings are reproduced in colour. His frescoes are illustrated in full, and the relations between sites and compositions are examined in detail. Chapters on Uccello's ideas and contemporary culture reject the conventional notion of a radical split between Gothic and Renaissance to show him as a natural representative of his time, while descriptions of contemporary Florence situate him in the context of his home city.
Author: Franco Borsi
Format: Hardback, 376 pages, 240mm x 320mm, 2680 g
Published: 1994, Thames & Hudson Ltd, United Kingdom
Genre: Individual Artists / Art Monographs
Paolo Uccello's works have long fascinated the public; yet academic opinion has been uncomfortable with his status as a Renaissance artist. His often fantastical compositions, his experiments with perspective, his sympathy with the Gothic, his strange and secretive character, all excluded him from the austere, realist, heroic tradition exemplified by Brunelleschi, Masaccio and Alberta. This illustrated study sets out to explore the mysterious genius of Uccello. A catalogue raisonne brings together all his surviving works. Many of these, such as the famous "Battle of San Romano" panel in the National Gallery, London, are presented in full-colour foldouts, and other lesser-known paintings are reproduced in colour. His frescoes are illustrated in full, and the relations between sites and compositions are examined in detail. Chapters on Uccello's ideas and contemporary culture reject the conventional notion of a radical split between Gothic and Renaissance to show him as a natural representative of his time, while descriptions of contemporary Florence situate him in the context of his home city.