The Minoan and Mycenaean element in Hellenic life / [Sir Arthur Evans].

  • Evans, Arthur, Sir, 1851-1941.
Date:
1914
Catalogue details

Licence: In copyright

Credit: The Minoan and Mycenaean element in Hellenic life / [Sir Arthur Evans]. Source: Wellcome Collection.

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    CROUP 3-ART s c ii 1 p t o 1’; and Peter Vischer, the bronze - worker, the author ot the famous figure of King Arthur in the Hofkirche at fnnsbruck. In France the chief works of sculpture pro- duced between the Gothic period and the triumph of the Italian influence of the masters s u m- moned by Francis I. to F o n t a i n e- l)leau are to be found among the m o n u m e n t a 1 tombs at Dijon, Amiens, Pv-ouen, S t. D en is, and Bourges. T h e n Primaticcio and Rosso started the Itahanising school of Fontainebleau, which produced sculptors like Jean Goujon and Germain Pilon. The naive reahsm of the earlier sculptors had now given way to’ an elegant and sometimes man- nered style, the chief aim of which was decorative effect. The reliefs of the Fontaine des Innocents, at the Louvre, in Paris, represent Goujon at his best, while Pilon’s “Three Graces,” likewise at the Louvre, illustrate this master’s exagger- ated elegance. What little indi- genous style there was in English sculpture was stifled by Torrigi- ano, Benedetto da Rovezzano, and other Italians called to England in Tudor days. 'Pile rise of pic- THE BRONZE .STATUE OF KINO ARTHUR torial art in the By Peter Visclier, in Uie llofkirche iit Innsbruck North coincide.* with the inven- tion of oil as a medium for paint- ing by the brothers Jan' and Hubert Van Eyck, at the end of the seven- teenth century. And, curiously enough, Flemish painting, at its very, beginning, appears at a stage of development which Italy has only reached by slow and gradual steps. The Van Eycks are great masters, not only by comparison with those that went before, but even if measured by those that fol- lowed them. We have ab’eadj’’ seen how the conditions imposed by the Gothic architec- tural system 1 i ll! i t e d the painter’s activity to small panel pictures, so that his attention was fixed on the elabo- ration of minute detail, instead of monumental mass- ing of line of form, and on soul- ful expression instead of stateli- ness of ])ose. Oil Painting in Flanders. The new school arose in Flanders —the Belgium of today—which was then one of the chief commercial and industrial centres of the world. The bril- liant pageants of the Flemish cities, with their con- stant coming and going of wealthy traders from every jiart of the world, must have been a powerful stimu- lant to the local painters. 1GI4