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The History of Painting in Italy, Vol. 1 From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century   By:

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In "The History of Painting in Italy, Vol. 1 From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century," Luigi Antonio Lanzi embarks on a meticulous exploration of Italian art, offering readers a comprehensive account of the evolution and achievements of painting in Italy. Through his extensive research and profound knowledge of the subject matter, Lanzi sheds light on the Renaissance period in a captivating and informative manner.

The book delves into the early developments of the Italian art scene, starting with the revival of the fine arts. Lanzi's meticulous attention to detail ensures that no stone is left unturned as he provides readers with a thorough understanding of this crucial period. He effortlessly guides us through the transition from the Dark Ages to the Renaissance, highlighting the artists who played a pivotal role in shaping Italian art and culture.

Lanzi's writing is both engaging and informative, making it accessible to both art enthusiasts and those seeking to broaden their knowledge on the subject. His ability to explain complex artistic techniques and styles in a straightforward manner is commendable, as it allows readers to grasp the significance of each artistic movement without feeling overwhelmed. Moreover, the inclusion of abundant illustrations and reproductions throughout the book enables readers to visualize and appreciate the artwork being discussed.

One of the book's most notable strengths is Lanzi's dedication to providing a comprehensive view of Italian painting. He takes readers on a journey that encompasses not only the renowned artists and masterpieces but also the lesser-known individuals who contributed to the rich tapestry of Italian art. This inclusivity is crucial in understanding the breadth and depth of the Italian artistic landscape and provides a refreshing perspective to those seeking a more nuanced comprehension.

Lanzi's love and passion for Italian art are evident throughout the book, as he conveys his admiration for the artists and their work. His writing is imbued with a sense of excitement, as he unravels the stories behind famous paintings and artist's lives. This enthusiasm is contagious and compels readers to further explore the works of art discussed, fostering a deep appreciation for Italian painting.

However, the book's significant flaw lies in its occasionally cumbersome structure. Lanzi's meticulousness sometimes tampers with the book's flow, resulting in dense passages that demand more attention and effort to comprehend fully. While this meticulousness is admirable, it may deter casual readers seeking a more accessible narrative.

Despite this minor setback, "The History of Painting in Italy, Vol.1 From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century" remains a valuable resource for anyone interested in Italian art. Luigi Antonio Lanzi's exhaustive research and passion for the subject make this book a compelling read that sheds light on the brilliance and legacy of Italian painting. Whether you are an art historian, a student, or an art enthusiast, this comprehensive exploration of Italian art is sure to captivate and inspire you.

First Page:

THE

HISTORY OF PAINTING

IN

ITALY.

VOL. I.

THE

HISTORY OF PAINTING

IN

ITALY,

FROM THE PERIOD OF THE REVIVAL OF

THE FINE ARTS

TO THE END OF THE EIGHTEENTH CENTURY:

TRANSLATED

From the Original Italian

OF THE

ABATE LUIGI LANZI.

BY THOMAS ROSCOE.

IN SIX VOLUMES.

VOL. I.

CONTAINING THE SCHOOLS OF FLORENCE AND SIENA.

LONDON:

PRINTED FOR

W. SIMPKIN AND R. MARSHALL,

STATIONERS' HALL COURT, LUDGATE STREET.

1828.

J. M'Creery, Tooks Court, Chancery Lane, London.

ADVERTISEMENT.

After the very copious and excellent remarks upon the objects of the present history contained in the Author's Preface, the Translator feels that it would be useless on his part to add any further explanation.

It would not be right, however, to close these volumes without some acknowledgment of the valuable assistance he has received. Amongst others, he is particularly indebted to Dr. Traill, of Liverpool, who after proceeding to some length with a translation of this work, kindly placed what he had completed in the hands of the Translator, with liberty to make such use of it as might be deemed advantageous to the present undertaking. To Mr. W. Y. Ottley, who also contemplated, and in part executed, a version of the same author, the Translator has to express his obligations for several explanations of terms of art, which the intimacy of that gentleman with the fine arts, in all their branches, peculiarly qualifies him to impart... Continue reading book >>




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