《人文传统(二)》章节试读

《人文传统(二)》的笔记-第74页 - CHAPTER 17 Renaissance Artists: Disciples of Nature, Masters of Invention

Although Michelangelo considered himself primarily a sculptor, he spent four years fulfilling a papal commission to paint the 5760-square-foot ceiling of the Vatican’s Sistine Chapel (Figure 17.34). The scope and monumentality of this enterprise reflect both the ambitions of
Pope Julius II and the heroic aspirations of Michelangelo himself. Working from scaffolds poised some 70 feet above the floor, Michelangelo painted a vast scenario illustrating the Creation and Fall of Humankind as recorded in Genesis. In the nine principal scenes, as well as in the hundreds of accompanying prophets and sibyls, he used high-keyed, clear, bright colors (restored by recent cleaning). He overthrew many traditional constraints, minimizing setting and symbolic details and maximizing the grandeur of figures that—like those he carved in stone—seem superhuman in size and spirit.

《人文传统(二)》的笔记-第190页 - Chapter 21 Absolute Power and the Aristocratic Style

A cursory examination of the plan of Versailles, laid out by the French architect Louis Le Vau (1612–1670), reveals esteem for the rules of symmetry, clarity, and geometric regularity
(Figure 21.3). These principles, in combination with a taste for spatial grandeur, dramatic contrast, and theatrical display, were the distinguishing features of the Classical Baroque style.
Shaped like a winged horseshoe, the almost 2000-foot-long palace—best viewed in its entirety from the air—was the focus of an immense complex of parks, lakes, and forest (Figure 21.4). Its central building was designed by Le Vau, while the two additional wings were added by Jules
Hardouin-Mansart (1646–1708). Three levels of vertically aligned windows march across the palace façade like soldiers in a formal procession (Figure 21.5).

《人文传统(二)》的笔记-第62页 - CHAPTER 17 Renaissance Artists: Disciples of Nature, Masters of Invention

Figure 17.20 LORENZO GHIBERTI, “Gates of Paradise,” 1425–1442. The east portal of the Florentine Baptistry contains Lorenzo Ghiberti’s immense (18 ft. 6 in. tall) gilt-bronze doors, brilliantly depicting in low relief ten episodes from the Old Testament. Ghiberti pictured himself in the roundel at the middle of the left door. Other figures depict his son, Vittorio, biblical prophets, and heroines. In 1990, the doors were removed for restoration. They now reside in the Museo del Duomo in Florence; copies have replaced the originals on the baptistry.
In the domain of sculpture, the Early Renaissance master of pictorial illusionism was the Florentine goldsmith Lorenzo Ghiberti (1378–1455). After winning the civic competition (his competitor was the eminent Brunelleschi) for a set of bronze relief panels to adorn the north door of the Florentine baptistry of San Giovanni, Ghiberti was commissioned to prepare a second set for the east doorway of the building, which faced the Duomo. He spent twenty-seven years creating the ten panels for the monumental 3-ton, 20-foot-tall door (Figure 17.20).