art.thewalters.org/detail/37626/the-excellent-town/ The Walters Artwork Museum, Baltimore
Художник – возможно Фра Карневале /The Great City
Fra Carnevale (Italian, 1445-1484) (?) (Artist)
Interval
ca. 1480-1484 (Renaissance)
MEDIUM
oil and tempera on panel
(Painting & Drawing)
ACCESSION Number
37.677
MEASUREMENTS
Painted area H: 30 1/2 x W: 86 5/8 in. (77.4 x 220 cm) Panel H: 31 5/8 x W: 86 5/8 x D: 1 1/4 in. (80.3 x 220 x 3.2 cm) Framed H: 41 x W: 96 x D: 6 1/4 in. (104.14 x 243.21 x 15.88 cm)
This remarkable panel exemplifies Renaissance ideals of urban scheduling, regard for Greco-Roman antiquity, and the mastery of central perspective. The imaginary town square characteristics a Roman arch commonly erected as a commemoration of navy victory at its heart. As a entire, the portray gives a product of the architecture and sculpture that would preferably be commissioned by a virtuous ruler who cares for the welfare of the citizenry. The amphitheater is modeled on the Colosseum in Rome. The octagonal construction to the correct, protected with colored stone, indicates the medieval Baptistery in Florence, which in the 15th century was assumed to be a reused Roman temple. Alongside one another they replicate the relevance of stability, faith, and recreation in a very well-controlled city and the benefit of Roman ideals in city style. The non-public residences at both side are also dignified with classical architectural features. Classicizing elements also appear in the foreground. Statues, set on columns in the Roman model, represent the virtues of a superior ruler (dependent on the traditonal cardinal (chief) moral virtues celebrated considering the fact that antiquity, the two in Greco-Roman society and in the Old Testatment: Justice with her sword and scales, Liberality (generosity) with a cornucopia, Moderation with a pitcher of water to combine with the basin of wine, and Fortitude with her column. This watch and a associated paintings now in Urbino had been apparently commissioned for the palace of Duke Federico da Montefeltro of Urbino. A different relevant check out is now in Berlin. Set into the woodwork at shoulder top or bigger, “The Perfect Metropolis” would have seemed like a window onto a further, much better planet. The illusion of a room that extends out from our individual is reached working with a mathematical perspective method created in Florence. The room is defined in conditions of the viewer’s personal angle of vision: the receding traces setting up spatial interactions converge at a central level in the metropolis gate visible beneath and beyond the Roman arch. For a lot more data on this painting, you should see the entry on the painting in Masterpieces of Italian Painting, The Walters Art Museum (Baltimore: the Walters Artwork museum, 2005), no. 15 (by Joaneath Spicer).
Posted by gorbutovich on 2018-03-02 22:16:57
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