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فن عصر النهضة
يتر وليندا موري يقدمان في هذا الكتاب مسحاً شاملاً لفنون عصر النهضة المبكر الذي شهد بعثاً شاملاً للآداب والفنون التي كادت أن تندثر. كما يعرضان تكوّن الأسلوب في الفنون والذي تجلى كأحسن ما يكون في أعمال دافنشي ومايكل أنجلو ورافائيل كما يصوران فيه لأهم المراحل في تاريخ الفنون التشكيلية في العالم.
وفي عشرة فصول يضمها الكتاب يعرض الكاتبان للعوامل التي ساهمت في بعث الروح في الفنون الحرة التي كادت أن تندرس كالنحو والشعر والبلاغة والرسم والبحث والعمارة والموسيقى والغناء. ويرى المؤلفان أن الأفكار الجديدة تستطيع أن تفرض نفسها بعد أن تواجه بأفكار أقوى معارضة ويخرجان بانطباع مفاده أن تاريخ الفنون في فلورنسا في الربع الأول من القرن الخامس عشر هو أن أسلوبين وليس أسلوباً واحداً، كانا يسعيان لإثبات وجودهما في مواجهة الأشكال التقليدية. ويبرزان بشكل واضح مدى تأثير العبادة المسيحية في فن عصر النهضة والذي يتمثل في الإيقونوغرافية الجديدة.
وفي عشرة فصول يضمها الكتاب يعرض الكاتبان للعوامل التي ساهمت في بعث الروح في الفنون الحرة التي كادت أن تندرس كالنحو والشعر والبلاغة والرسم والبحث والعمارة والموسيقى والغناء. ويرى المؤلفان أن الأفكار الجديدة تستطيع أن تفرض نفسها بعد أن تواجه بأفكار أقوى معارضة ويخرجان بانطباع مفاده أن تاريخ الفنون في فلورنسا في الربع الأول من القرن الخامس عشر هو أن أسلوبين وليس أسلوباً واحداً، كانا يسعيان لإثبات وجودهما في مواجهة الأشكال التقليدية. ويبرزان بشكل واضح مدى تأثير العبادة المسيحية في فن عصر النهضة والذي يتمثل في الإيقونوغرافية الجديدة.
243 pages, Paperback
First published January 1, 1963
15 people are currently reading
327 people want to read
About the author
Peter Murray
22 books2 followersLibrarian's Note: This is Peter^^Murray, with each ^ symbol signifying a space.
Born Peter John Murray in London in 1920, he died in 1992 in Farnborough (near Banbury), Warwickshire, United Kingdom.
Peter Murray was Professor of History of Art at Birkbeck, University of London, from 1967 to 1980, and one of the principal founder members of the Association of Art Historians.
He was responsible for establishing history of art as an undergraduate discipline in the College, following Sir Nikolaus Pevsner's teaching of the subject outside a departmental structure.
When he died in 1992, his widow Linda Murray (a distinguished art historian in her own right) established a Bequest to provide funds for student support, research travel and other activities in the then Department of History of Art.
One of these activities has been the biennial Murray Memorial Lecture, which has been delivered by such notable figures as Jonathan Miller, Simon Schama, Neil Macgregor and Christopher Fraying.
The Murray Bequest also supports the Murray Research Studentship.
Born Peter John Murray in London in 1920, he died in 1992 in Farnborough (near Banbury), Warwickshire, United Kingdom.
Peter Murray was Professor of History of Art at Birkbeck, University of London, from 1967 to 1980, and one of the principal founder members of the Association of Art Historians.
He was responsible for establishing history of art as an undergraduate discipline in the College, following Sir Nikolaus Pevsner's teaching of the subject outside a departmental structure.
When he died in 1992, his widow Linda Murray (a distinguished art historian in her own right) established a Bequest to provide funds for student support, research travel and other activities in the then Department of History of Art.
One of these activities has been the biennial Murray Memorial Lecture, which has been delivered by such notable figures as Jonathan Miller, Simon Schama, Neil Macgregor and Christopher Fraying.
The Murray Bequest also supports the Murray Research Studentship.
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Displaying 1 - 14 of 14 reviews
December 19, 2016
Just a couple of notes about this book.
First, this is not a coffee table book, with the large illustrations and little text typical of that style. My copy, at least, is between a trade paperback and a hardback in size, and so much of the detail is going to be lost. And of the 251 plates, 200 are in black and white, making, again, it difficult to see some of the details. Anyone looking at purchasing this book for the illustrations should probably look somewhere else.
Second, this is not a layman's book. I did read it through, and while there was nothing in it I couldn't understand, I do think it was written to a level that was more advanced than what I was expecting. This I appreciated, though I think readers should be ready to stretch themselves if, like me, their knowledge of the Renaissance is limited. Although Donatello, Durer, Da Vinci, Botticelli, Van Eyck, Raphael, and Michelangelo are emphasized, other artists--mostly unknown to me before--fill up the vast majority of the book.
Third, I think the title is misleading. I don't think there really is a good definition of 'The Renaissance', but this book covers only from the last of the 14th century to the opening decades of the 16th. From the opening chapter, the authors say, "This book is almost entirely about the Early Renaissance, about the formation of that style in the arts, which, culminating in Leonardo da Vinci, Michelangelo, and Raphael, is still generally used as a touchstone of aesthetic quality." Thus, an artist like Titian is only briefly mentioned at the end of the book, and as a lead-in, more or less, for the Murrays' other book in this series, Late Renaissance and Mannerism.
Last, the authors' intent is not merely to present the works and sketch some small bit of biographical information on the painters and sculptors. There is that, as well as a smattering of historical information to help integrate the paintings into their times, but the overarching theme of the text is to trace the influences of one artist on another, how regional schools developed and differed, and to highlight technical advancements. Teasing out how any particular artist can be recognized through his techniques was, frankly, beyond my ability, yet the authors wrote of it as if they were addressing a readership who were in lockstep with their points. That is one of the reasons I felt that the book was aimed at a more artistically literate crowd, though it didn't stop me from learning a good deal.
It would take someone more knowledgeable of this period than me to evaluate the book. I believe it is too technical to be used as a general introduction--sometimes it was a bit like trying to catch a moving train for myself, though someone trained in the arts and interested in this time period would probably find a lot of value. I believe I would have been disappointed if I had bought this new (it is still in print), but I found an old copy at a discard sale for a quarter, so I'm not complaining. For the same price, or even a little bit more, I'd pick up the Murrays' next book in the series, simply for the fact that there was a lot of detail on artists I wasn't familiar with in this one, and I think it will be a nice reference to have on my shelves. My biggest wish was that the author's had spent a little more time dissecting some of the iconography rather than on the technical aspects, but it was still worthwhile for me.
First, this is not a coffee table book, with the large illustrations and little text typical of that style. My copy, at least, is between a trade paperback and a hardback in size, and so much of the detail is going to be lost. And of the 251 plates, 200 are in black and white, making, again, it difficult to see some of the details. Anyone looking at purchasing this book for the illustrations should probably look somewhere else.
Second, this is not a layman's book. I did read it through, and while there was nothing in it I couldn't understand, I do think it was written to a level that was more advanced than what I was expecting. This I appreciated, though I think readers should be ready to stretch themselves if, like me, their knowledge of the Renaissance is limited. Although Donatello, Durer, Da Vinci, Botticelli, Van Eyck, Raphael, and Michelangelo are emphasized, other artists--mostly unknown to me before--fill up the vast majority of the book.
Third, I think the title is misleading. I don't think there really is a good definition of 'The Renaissance', but this book covers only from the last of the 14th century to the opening decades of the 16th. From the opening chapter, the authors say, "This book is almost entirely about the Early Renaissance, about the formation of that style in the arts, which, culminating in Leonardo da Vinci, Michelangelo, and Raphael, is still generally used as a touchstone of aesthetic quality." Thus, an artist like Titian is only briefly mentioned at the end of the book, and as a lead-in, more or less, for the Murrays' other book in this series, Late Renaissance and Mannerism.
Last, the authors' intent is not merely to present the works and sketch some small bit of biographical information on the painters and sculptors. There is that, as well as a smattering of historical information to help integrate the paintings into their times, but the overarching theme of the text is to trace the influences of one artist on another, how regional schools developed and differed, and to highlight technical advancements. Teasing out how any particular artist can be recognized through his techniques was, frankly, beyond my ability, yet the authors wrote of it as if they were addressing a readership who were in lockstep with their points. That is one of the reasons I felt that the book was aimed at a more artistically literate crowd, though it didn't stop me from learning a good deal.
It would take someone more knowledgeable of this period than me to evaluate the book. I believe it is too technical to be used as a general introduction--sometimes it was a bit like trying to catch a moving train for myself, though someone trained in the arts and interested in this time period would probably find a lot of value. I believe I would have been disappointed if I had bought this new (it is still in print), but I found an old copy at a discard sale for a quarter, so I'm not complaining. For the same price, or even a little bit more, I'd pick up the Murrays' next book in the series, simply for the fact that there was a lot of detail on artists I wasn't familiar with in this one, and I think it will be a nice reference to have on my shelves. My biggest wish was that the author's had spent a little more time dissecting some of the iconography rather than on the technical aspects, but it was still worthwhile for me.
June 12, 2017
يقول فريدريك نيتشة /
أسمى أنواع الجمال ليس ذلك الذي يفتِنُنا على الفور، بل الذي يتسلّل إلينا ببطء نحملهُ معنا ونحن لا نكاد نشعر به.
وهذا ما يفعله فن عصر النهضة حيث يتسلل ألينا، يحملنا معه، ويأخذنا للجمال.
الكتاب يحتوي على صور أهم لوحات عصر النهضة كما أنهُ يشرح اهم مراحل هذا العصر واهم فنانينه،
الكتاب "ساحر"
أسمى أنواع الجمال ليس ذلك الذي يفتِنُنا على الفور، بل الذي يتسلّل إلينا ببطء نحملهُ معنا ونحن لا نكاد نشعر به.
وهذا ما يفعله فن عصر النهضة حيث يتسلل ألينا، يحملنا معه، ويأخذنا للجمال.
الكتاب يحتوي على صور أهم لوحات عصر النهضة كما أنهُ يشرح اهم مراحل هذا العصر واهم فنانينه،
الكتاب "ساحر"
June 2, 2018
*2.5
This book provides a decent introduction to the big names of the early (15th century) Renaissance, but it does little else. The Murray's clearly know the art well, but in many ways their writing is plagued by outdated connoisseurship and focuses little on the actual history aspect of the art.
Occasionally they do discuss more deeply the relationship between the art and the socio-historical climate but it's mostly just intense descriptions of the styles of various artists. Strangely enough the discussion of printing in the Northern Renaissance was probably the book's highlight, despite the fact that the authors specialise in Italian art.
Overall it's not awful, it just isn't up to contemporary standards of art history (it was published originally in the 60s). I'd only recommend this if you're coming to the subject completely blank and are more interested in the formal aspects of Renaissance art than the historical background that they emerged from.
This book provides a decent introduction to the big names of the early (15th century) Renaissance, but it does little else. The Murray's clearly know the art well, but in many ways their writing is plagued by outdated connoisseurship and focuses little on the actual history aspect of the art.
Occasionally they do discuss more deeply the relationship between the art and the socio-historical climate but it's mostly just intense descriptions of the styles of various artists. Strangely enough the discussion of printing in the Northern Renaissance was probably the book's highlight, despite the fact that the authors specialise in Italian art.
Overall it's not awful, it just isn't up to contemporary standards of art history (it was published originally in the 60s). I'd only recommend this if you're coming to the subject completely blank and are more interested in the formal aspects of Renaissance art than the historical background that they emerged from.
June 23, 2023
There is certainly a lot of knowledge, but it is rather dry and without much context or flow. Doesn’t quite stimulate to learn more.
November 23, 2019
Knygą skaityti pradėjau, pagautas akimirkos įkvėpimo pažinti kažką daugiau nei meną, besivysčiusį impresionizmo laikais ir vėliau. Pirmiausia, žinoma, žavėjo Tarkovskio meilė šiam laikotarpiui.
Pradžioje knyga skaitėsi itin sudėtingai - daug mažai girdėtų pavardžių, terminologija - viskas leido manyti, kad darbas skirtas ne pradedančiam, o pažengusiam ankstyvojo renesanso gerbėjui. Visgi, perlipus save ir tęsus toliau, pagaliau pajutau malonumą skaitydamas ir džiaugiuos, kad knyga knyga praturtino mane naujomis žiniomis apie tokį menui svarbų ir įdomų laikotarpį. Žinoma, jau dabar jaučiu, kad visų minėtų pavardžių tikrai neprisiminsiu, tačiau atmintyje išliks bent jau šiek tiek daugiau konteksto apie tokių žvaigždžių kaip Van Eyck, Donatello, Michalangelo, Da Vinci, Boticelli gyvenimą, šaknis ir įkvėpimo šaltinius.
Pradžioje knyga skaitėsi itin sudėtingai - daug mažai girdėtų pavardžių, terminologija - viskas leido manyti, kad darbas skirtas ne pradedančiam, o pažengusiam ankstyvojo renesanso gerbėjui. Visgi, perlipus save ir tęsus toliau, pagaliau pajutau malonumą skaitydamas ir džiaugiuos, kad knyga knyga praturtino mane naujomis žiniomis apie tokį menui svarbų ir įdomų laikotarpį. Žinoma, jau dabar jaučiu, kad visų minėtų pavardžių tikrai neprisiminsiu, tačiau atmintyje išliks bent jau šiek tiek daugiau konteksto apie tokių žvaigždžių kaip Van Eyck, Donatello, Michalangelo, Da Vinci, Boticelli gyvenimą, šaknis ir įkvėpimo šaltinius.
May 27, 2021
في البداية يجب ان اذكر ان هذا الكتاب ليس من نوعية الكتب التي يمكن قرآتها دون تركيز.. هذا الكتاب يعتمد على التواريخ المتفاوتة والمتداخلة وعلى شرح السمات العامة التي رافقت كل فترة عاش فيها احد اولئك العظماء الذي ننظر اليهم اليوم كأيقونات الفن الذي شكل ما وصلنا اليه اليوم.. كتاب شيق جدا ومفيد بشكل كبير..
مأخذي الوحيد على عذا الكتاب ان ترتيب الصور لم يكن متماشيا دوما مع الفقرات التي تتحدث عن المنحوتة او اللوحة.. وهو ما يجبرنا عل العودة او التقدم باتجاه صفحة معينة حتى نستطيع التحقق مما يتم الحديث عنه .. فن عظيم وعصر ذهبي لا يمكن ان يعاد..
مأخذي الوحيد على عذا الكتاب ان ترتيب الصور لم يكن متماشيا دوما مع الفقرات التي تتحدث عن المنحوتة او اللوحة.. وهو ما يجبرنا عل العودة او التقدم باتجاه صفحة معينة حتى نستطيع التحقق مما يتم الحديث عنه .. فن عظيم وعصر ذهبي لا يمكن ان يعاد..
October 2, 2023
Good overview of Renaissance Art, including the northern Renaissance. It was a bit dated (published in 1966)- for example, we now know Michelangelo did not paint the Sistine Chapel ceiling on his back. Also I was frustrated that the photos did not identify the location of the paintings. But still it provided a good review for this art history major.
July 4, 2024
While there are a couple witticisms, the writing is very dry and not very engaging. Plus, the book is very small and as a result, the reproductions (most of which are in black and white) are hard to see and the details are rather obscured. I haven't read any other introductions to Renaissance art, but there must be better ones out there.
September 11, 2024
Concise but largely outdated introduction to Renaissance art in Italy and northern Europe. There are much better books to consult if you are looking to dive into this time period.
April 9, 2025
I can't wait to feel the way your presence sets my entire body on fire. Let's create a night filled with unforgettable sensations, savoring each moment.
August 24, 2019
It's a long time since I read this book for an Open University course on, as far as I remember it, the Italian Renaissance.
On re-reading I was surprised to find the nealy half the book actually covers the Northern Renaissance as well - these must have been the sections ignored in the set reading.
Hence this is a better book than I remembered as it covers, and cuts between, the two renaissances chapter by chapter.
The many illustrations aren't of the absolute highest quality - mainly black and white -but serve as examples for the text, which also references others that aren't included.
All in all, though, still a good introduction despite its age.
On re-reading I was surprised to find the nealy half the book actually covers the Northern Renaissance as well - these must have been the sections ignored in the set reading.
Hence this is a better book than I remembered as it covers, and cuts between, the two renaissances chapter by chapter.
The many illustrations aren't of the absolute highest quality - mainly black and white -but serve as examples for the text, which also references others that aren't included.
All in all, though, still a good introduction despite its age.
September 10, 2014
Very informative and useful. A knowledgeable and inspiring book. For an "older" book, it has plenty of good quality reproductions of the works discussed.
January 27, 2015
Interesting and detailed insight into the renaissance period, the artists and their work.
June 15, 2017
This is not a coffee table book; it is a rigorous analysis of the period. However, it should be emphasised that the book deals with the Early Renaissance and its Late Gothic antecedents; High Renaissance is the subject of their second study.
Displaying 1 - 14 of 14 reviews