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- Herausgeber: iOnlineShopping.com
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
- Veröffentlichungsjahr: 2019
A great book that introduces famous Italian artists to children. Contents Giotto -- Fra Angelico -- Masaccio -- Fra Filippo Lippi -- Sandro Botticelli -- Domenico Ghirlandaio -- Filippino Lippi -- Pietro Perugino -- Leonardo da Vinci -- Raphael -- Michelangelo -- Andrea del Sarto -- The Bellini -- Vittore Carpaccio -- Giorgione -- Titian -- Tintoretto -- Paul Veronese.
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Amy Steedman
Table of contents
KNIGHTS OF ART
ABOUT THIS BOOK
CONTENTS
FRA FILIPPO LIPPI
PIETRO PERUGINO
ANDREA DEL SARTO
PAUL VERONESE
KNIGHTS OF ART
ABOUT THIS BOOK
STORIES OF THE ITALIAN PAINTERS
BY AMY STEEDMAN
AUTHOR OF 'IN GOD'S GARDEN'
TO FRANCESCA
What would we do without our picture-books, I wonder? Before we knew how to read, before even we could speak, we had learned to love them. We shouted with pleasure when we turned the pages and saw the spotted cow standing in the daisy-sprinkled meadow, the foolish-looking old sheep with her gambolling lambs, the wise dog with his friendly eyes. They were all real friends to us.
Then a little later on, when we began to ask for stories about the pictures, how we loved them more and more. There was the little girl in the red cloak talking to the great grey wolf with the wicked eyes; the cottage with the bright pink roses climbing round the lattice-window, out of which jumped a little maid with golden hair, followed by the great big bear, the middle-sized bear, and the tiny bear. Truly those stories were a great joy to us, but we would never have loved them quite so much if we had not known their pictured faces as well.
Do you ever wonder how all these pictures came to be made? They had a beginning, just as everything else had, but the beginning goes so far back that we can scarcely trace it.
Children have not always had picture-books to look at. In the long-ago days such things were not known. Thousands of years ago, far away in Assyria, the Assyrian people learned to make pictures and to carve them out in stone. In Egypt, too, the Egyptians traced pictures upon the walls of their temples and upon the painted mummy-cases of the dead. Then the Greeks made still more beautiful statues and pictures in marble, and called them gods and goddesses, for all this was at a time when the true God was forgotten.
Afterwards, when Christ had come and the people had learned that the pictured gods were not real, they began to think it wicked to make beautiful pictures or carve marble statues. The few pictures that were made were stiff and ugly, the figures were not like real men and women, the animals and trees were very strange-looking things. And instead of making the sky blue as it really was, they made it a chequered pattern of gold. After a time it seemed as if the art of making pictures was going to die out altogether.
Then came the time which is called 'The Renaissance,' a word which means being born again, or a new awakening, when men began to draw real pictures of real things and fill the world with images of beauty.
Now it is the stories of the men of that time, who put new life into Art, that I am going to tell you--men who learned, step by step, to paint the most beautiful pictures that the world possesses.
In telling these stories I have been helped by an old book called The Lives of the Painters, by Giorgio Vasari, who was himself a painter. He took great delight in gathering together all the stories about these artists and writing them down with loving care, so that he shows us real living men, and not merely great names by which the famous pictures are known.
It did not make much difference to us when we were little children whether our pictures were good or bad, as long as the colours were bright and we knew what they meant. But as we grow older and wiser our eyes grow wiser too, and we learn to know what is good and what is poor. Only, just as our tongues must be trained to speak, our hands to work, and our ears to love good music, so our eyes must be taught to see what is beautiful, or we may perhaps pass it carelessly by, and lose a great joy which might be ours.
So now if you learn something about these great artists and their wonderful pictures, it will help your eyes to grow wise. And some day should you visit sunny Italy, where these men lived and worked, you will feel that they are quite old friends. Their pictures will not only be a delight to your eyes, but will teach your heart something deeper and more wonderful than any words can explain.
AMY STEEDMAN
CONTENTS
FRA FILIPPO LIPPI
LIST OF PICTURES
IN COLOUR
IN MONOCHROME
GIOTTO
It was more than six hundred years ago that a little peasant baby was born in the small village of Vespignano, not far from the beautiful city of Florence, in Italy. The baby's father, an honest, hard-working countryman, was called Bondone, and the name he gave to his little son was Giotto.
Life was rough and hard in that country home, but the peasant baby grew into a strong, hardy boy, learning early what cold and hunger meant. The hills which surrounded the village were grey and bare, save where the silver of the olive-trees shone in the sunlight, or the tender green of the shooting corn made the valley beautiful in early spring. In summer there was little shade from the blazing sun as it rode high in the blue sky, and the grass which grew among the grey rocks was often burnt and brown. But, nevertheless, it was here that the sheep of the village would be turned out to find what food they could, tended and watched by one of the village boys.
So it happened that when Giotto was ten years old his father sent him to take care of the sheep upon the hillside. Country boys had then no schools to go to or lessons to learn, and Giotto spent long happy days, in sunshine and rain, as he followed the sheep from place to place, wherever they could find grass enough to feed on. But Giotto did something else besides watching his sheep. Indeed, he sometimes forgot all about them, and many a search he had to gather them all together again. For there was one thing he loved doing better than all beside, and that was to try to draw pictures of all the things he saw around him.
It was no easy matter for the little shepherd lad. He had no pencils or paper, and he had never, perhaps, seen a picture in all his life. But all this mattered little to him. Out there, under the blue sky, his eyes made pictures for him out of the fleecy white clouds as they slowly changed from one form to another. He learned to know exactly the shape of every flower and how it grew; he noticed how the olive-trees laid their silver leaves against the blue background of the sky that peeped in between, and how his sheep looked as they stooped to eat, or lay down in the shadow of a rock.
Nothing escaped his keen, watchful eyes, and then with eager hands he would sharpen a piece of stone, choose out the smoothest rock, and try to draw on its flat surface all those wonderful shapes which had filled his eyes with their beauty. Olive-trees, flowers, birds and beasts were there, but especially his sheep, for they were his friends and companions who were always near him, and he could draw them in a different way each time they moved.
