Seasons Greetings
4
pages
English
Documents
Le téléchargement nécessite un accès à la bibliothèque YouScribe Tout savoir sur nos offres
4
pages
English
Ebook
Le téléchargement nécessite un accès à la bibliothèque YouScribe Tout savoir sur nos offres
- exposé
- exposé - matière potentielle : about climate change
- exposé - matière potentielle : after the sausage sizzle lunch
- past couple of years
- coordinator art
- art- works
- art works
- art
- park
- tawharanui
- habitat quality
- fence
- work of many volunteers
972 pages. 9 x 11. Casebound. Full-color. ©2006. ISBN: 0-495-00478-2. AVAILABLE FEBRUARY 2005!
304 pages. 9 x 11. Paperbound. Full-color. ©2006. ISBN: 0-495-00365-4. AVAILABLE FEBRUARY 2005!
BOTH PACKAGEDFREE WITH: ArtStudy 2.1 CDROM!
A GARDNER FOR EVERY ART HISTORY SURVEY COURSE!
GARDNER’S ART THROUGH THE AGES: THE WESTERN PERSPECTIVE Twelfth Edition
GARDNER’S ART THROUGH THE AGES: NON-WESTERN PERSPECTIVES Twelfth Edition
Fred S. KleinerandChristin J. Mamiya A choice ofGardnertexts to fit a variety of courses.
For 80 years,Gardner’s Art through the Ageshas upheld a tradition of comprehensive, contextual coverage combined with a masterful visual presentation. These two versions of the classic text for the art history survey course maintain the richness of the Gardner legacy with thoroughly updated text and an even more beautiful art program.Gardner’s Art through the Ages: The Western Perspectiveprovides the ideal text solution for courses covering the Western tradition of art. It features unique coverage of the Islamic tradition and its significant impact on Western culture and art history, as well as more attention to patronage in the production of art, the role of women in societies worldwide over time, and the role of women artists within their own societies. For non-Western survey courses,Gardner’s Art through the Ages: Non-Western Perspectivesexplores the history of art in Asia, Africa, the Americas, Oceania, and the Islamic world. Both texts retain the authority and splendor of the completeGardner volume.
NEW TO BOTH TEXTS An extensively researched and revised photo programfeatures hundreds of new images. Nearly 100% of the reproductions in each text are in color—the highest percentage of color illustrations of any art history survey text. (See page 3 for examples.) Upholding the Gardner reputation as the most authoritative and up-to-date introduc-tionto the history of art, these two versions combined incorporate feedback from over 100 reviewers.
HALLMARK FEATURES
Each chapter opens with an elegant, full-page imagerepresentative of the time period discussed in that chapter, providing students with a closer look at significant works of painting, sculpture, and architecture. A focus on the cultural and historical context is integrated throughout each text,providing students with a sense of artistic, intellectual, political, and social events reflected in each work. Six types of pedagogical boxes provide contextual information to supplement the primary text: Materials and Techniques, Written Sources, Religion and Mythology, Art and Society, Art in the News, and Architectural Basics. Wherever possible, the book examines the intended purpose and functionof each work of art.
Packaged free with each new copy of either text, the ArtStudy 2.1 Student CD-ROM contains hundreds of high-quality digital images of works discussed in the texts (more than 1,000 in the Western version and more than 200 in the non-Western version). These images are identified in each book by CD icons placed next to their captions.
Full-color maps allowstudents to easily locate where artistic works were created and to visualize the relationships of cities, coun-tries, and regions as discussed in the narrative. Every chapter ends with a short conclusion summarizing the major themes discussed. These summaries face a Chronological Overview of the material presented in the chapter, organized as a vertical timeline with four thumbnail illustrations of characteristic works. Each thumbnail is numbered. The corresponding number appears on the time rule to the left so that the chronological sequence of production is clear.
TABLES OF CONTENTS
Gardner’s Art through the Ages: The Western Perspective, Twelfth Edition
This text is also available in a two-volume split: Volume I (ISBN: 0-495-00479-0) includes Chapters 1–13. Volume II (ISBN: 0-495-00480-4) includes Chapters 14–23.
Preface Introduction: The Subjects and Vocabulary of Art History 1. TheBirth of Art: Africa, Europe, and the Near East in the Stone Age 2. TheRise of Civilization: The Art of the Ancient Near East 3. Pharaohsand the Afterlife: The Art of Ancient Egypt 4. Minosand the Heroes of Homer: The Art of the Prehistoric Aegean 5. Gods,Heroes, and Athletes: The Art of Ancient Greece 6. Italybefore the Romans: The Art of the Etruscans 7. FromSeven Hills to Three Continents: The Art of Ancient Rome 8. Pagans,Christians, and Jews: The Art of Late Antiquity 9. Romein the East: The Art of Byzantium 10. InPraise of Allah: The Art of the Islamic World 11. Europeafter the Fall of Rome: Early Medieval Art in the West 12. TheAge of Pilgrimages: Romanesque Art 13. TheAge of Great Cathedrals: Gothic Art 14. FromGothic to Renaissance: 14th-Century Italian Art 15. Piety,Passion, and Politics: 15th-Century Art in Northern Europe and Spain 16. Humanismand the Allure of Antiquity: 15th-Century Italian Art 17. Beauty,Science, and Spirit in Italian Art: The High Renaissance and Mannerism 18. TheAge of Reformation: 16th-Century Art in Northern Europe and Spain 19. Popes,Peasants, Monarchs, and Merchants: Baroque Art 20. TheEnlightenment and Its Legacy: The Late 18th- through the Mid-19th Century 21. TheRise of Modernism: Art of the Later 19th Century 22. TheDevelopment of Modernist Art: The Early 20th Century 23. FromModern to the Postmodern and Beyond: Art of the Later 20th Century Notes • Glossary • Bibliography • Credits • Index
TEACHING AND LEARNING RESOURCES
http://art.wadsworth.com
Gardner’s Art through the Ages: Non-Western Perspectives, Twelfth Edition
Preface Introduction: The Subjects and Vocabulary of Art History 1. Pathsto Enlightenment: The Art of South and Southeast Asia before 1200 2. Sultans,Kings, Emperors, and Colonists: The Art of South and Southeast Asia after 1200 3. TheSilk Road and Beyond: The Art of Early China and Korea 4. Fromthe Mongols to the Modern: The Art of Later China and Korea 5. Shrines,Statues, and Scrolls: The Art of Early Japan 6. Fromthe Shoguns to the Present: The Art of Later Japan 7. InPraise of Allah: The Art of the Islamic World 8. FromAlaska to the Andes: Native Arts of the Americas before 1300 9. Beforeand After the Conquistadors: Native Arts of the Americas after 1300 10. Southfrom the Sahara: Early African Art 11. Traditionalismand Internationalism: 19th- and 20th-Century African Arts 12. TheFlourishing of Island Cultures: The Arts of Oceania Glossary • Bibliography • Credits • Index
ALSO AVAILABLE—THE ORIGINAL
Gardner’s Art through the Ages, Twelfth Edition The originalGardnerpresents comprehensive coverage of the defining phases of the world’s artistic traditions, combining all chapters from both the Western and non-Western editions whose contents are listed on this page. ©2005. The comprehensive volume (ISBN: 0-15-05090-7) includes Chapters 1–34. Vol. I (ISBN: 0-534-64095-8) includes Chapters 1-18. Vol. II (ISBN: 0-534-64091-5) includes Chapters 19–34.
Also available to support each Gardner text is a compr ehensive array of teaching and learning resources—including the freeArtStudy 2.1CD-ROM for students, slide sets, an Instructor’s Manual and Test Bank, a full-featured website, and much more. Contact your Thomson Wadsworth representative or visithttp://art.wadsworth.comfor more details. Of special note:
® ® Multimedia Manager: A MicrosoftPowerPoint Tool Free to qualified adopters, this one-stop lecture tool makes it ® ® easy to use MicrosoftPowerPoint toassemble, edit, and present custom lectures. It provides digital versions of hun-dreds of images discussed and illustrated in the text, both in PowerPoint presentation format and in individual file formats compatible with other image-viewing software. This CD-ROM also features software ™ ® and image-specificJoinIn onTurningPointcontent for Student Response Systems, allowing you to transform your classroom and assess your stu-dents’ progress with instant in-class quizzes and polls.
VISIT US ON THE WEB The Thomson Wadsworth Art and Humanities Resource Center Book Companion Website http://art.wadsworth.com Visit this site for a rich array of teaching and learning resources. You can also link to each text’s Book Companion Website, which includes chapter overviews; audio glossary flashcards, self-assessment chapter-by-chapter quizzes, a Museum Guide, line art from the text, a pronunciation guide, and more.
Three new versions of GARDNER’S ART THROUGH THE AGES
http://art.wadsworth.com
EXAMPLES OF THE STELLAR ILLUSTRATION PROGRAM AND PEDAGOGY THAT REFLECT THE GARDNER REPUTATION FOR EXCELLENCE . . .
Elegant chapter openers
49Shang Xi,Guan Yu Captures General Pang De,Ming dynasty, ca. 1430. Hanging scroll, ink and colors on silk, 65×77. Palace Museum, Beijing.
General Pang De(FIG.49express the grandeur of his teacher’s virtue and character. The) represents an episode from the tumul-tuous third century (Period of Disunity; see Chapter 3), whoseartist suggested the immense scale of Mount Lu by placing a tiny wars inspired one of the first great Chinese novels,The Romance offigure at the bottom center of the painting, sketched in lightly and the Three Kingdoms.partly obscured by a rocky outcropping. The composition owes aGuan Yu was a famed general of the Wei dy-nasty (220 – 280) and a fictional hero in the novel. The paintinggreat deal to early masters like Fan Kuan (seeFIG.3-18). But, depicts the historical Guan Yu, renowned for his loyalty to his em-characteristic of literati painting in general, the scroll is in the end peror and his military valor, being presented with the captured en-a very personal conversation — in pictures and words — between emy general Pang De. In his painting, Shang Xi uses color to focusthe painter and the teacher for whom it was created. attention on Guan Yu and his attendants, who stand out sharply from the ink landscape. He also contrasts the victors’ armor andDONG QICHANGOne of the most intriguing and influential bright garments with the vulnerability of the captive, who hasliterati of the late Ming dynasty wasDong Qichang(1555 – been stripped almost naked, further heightening his humiliation.1636), a wealthy landowner and high official who was a poet, cal-ligrapher, and painter. He also amassed a vast collection of Chi-MING LITERATInese art and achieved great fame as an art critic. In DongThe work of Shang Xi and other professional court painters, designed to promote the official Ming ideology, isQichang’s view, most Chinese landscape painters could be classi-far removed from the venerable tradition of literati painting,fied as belonging to either the Northern School of precise, aca-which also flourished during the Ming dynasty, but, as under thedemic painting or the Southern School of more subjective, freer Yuan emperors, was largely independent of court patronage. Onepainting. “Northern” and “Southern” were therefore not geo-of the leading figures wasShen Zhougraphic but stylistic labels. Dong Qichang chose these names for(1427 – 1509), a master of the Wu School of painting, so called because of the ancient namethe two schools because he determined that their characteristic (Wu) of the city of Suzhou. Shen Zhou came from a family ofstyles had parallels in the northern and southern schools of Chan scholars and painters and turned down an offer to serve in theBuddhism (see “Chan Buddhism,” Chapter 3, page 60). Northern Ming bureaucracy in order to devote himself to poetry and paint-Chan Buddhists were “gradualists” and believed that enlighten-ing. His hanging scroll,Lofty Mount Lu(FIG.410ment could be achieved only after long training. The Southern), a birthday gift to one of his teachers, bears a long poem he wrote in theChan Buddhists believed that enlightenment could come sud-teacher’s honor. Shen Zhou had never seen Mount Lu, but hedenly. The professional, highly trained court painters belonged to chose the subject because he wished the lofty mountain peaks tothe Northern School. The leading painters of the Southern School 72Chapter 4The Art of Later China and Korea
410Shen Zhou,Lofty Mount Lu,Ming dynasty, 1467. Hanging 1 5 scroll, ink and color on paper, 64×32. National Palace 4 8 Museum, Taibei.
7
F R O MS E V E NH I L L S T OT H R E EC O N T I N E N T S
T H EA R TO FA N C I E N TR O M E
ith the rise and triumph of Rome, a single government ruled, for the first time W in human history, from the Tigris and Euphrates to the Thames and beyond, from the Nile to the Rhine and Danube (MAP71). Within the Roman Empire’s bor-ders lived people of numerous races, religions, tongues, traditions, and cultures: Britons and Gauls, Greeks and Egyptians, Africans and Syrians, Jews and Christians, to name but a few. Of all the ancient civilizations, only the Roman approximates today’s world in its multicultural character. Roman monuments of art and architecture, spread throughout the vast territory the Romans governed, are the most conspicuous and numerous of all the remains of ancient civilization. Many, converted to other uses, are part of the fabric of modern life, not merely ruins that spark the curiosity of tourists, students, and scholars. Even in North America, where no Roman remains exist save for imported statues, paint-ings, and mosaics, modern versions of Roman buildings such as the Pantheon (FIG.7-48) may be found in cities and on college campuses.
FROM VILLAGE TO WORLD CAPITALThe far-flung Roman Empire centered on the city on the Tiber River that, according to legend, Romulus founded as a modest village of huts on April 21, 753bce. Nine centuries later, Rome was the capital of the greatest empire the world had ever known. The imperial city (FIG.71) awed foreign kings and even later Roman rulers. The historian Ammianus Marcellinus reported that when the emperor Constantius visited Rome in 357ceand entered the Forum of Trajan (FIG.7-41), constructed 250 years earlier, he “stopped in his tracks, astonished” and marveled at the Forum’s opulence and size, “which cannot be described by words 1 and could never again be attempted by mortal men.”
Republic
KINGS, SENATORS, AND CONSULSOur story, however, begins long before Roman art and architecture embodied the imperial ideal of the Roman state, at a time when that “state” encompassed no territory beyond one of its famous seven hills. The
were the literati, whose freer and more expressive style Dong Qichang judged to be far superior. Dong Qichang’s own work — for example,Dwelling in the Qingbian Mountains(FIG.411), painted in 1617 — belongs to the Southern School he admired so much. His debt to earlier literati painters can readily be seen in both subject and style as well as in the incorporation of a long inscription at the top. But Dong Qichang was also an innovator, especially in his treatment of the towering mountains, where shaded masses of rocks alter-nate with flat, blank bands, flattening the composition and cre-ating highly expressive and abstract patterns. Some critics have even called Dong Qichang the first modernist painter, fore-411Dong Qichang,Dwelling in the Qingbian Mountains, 1 1 shadowing developments in 19th-century European landscapeMing dynasty, 1617. Hanging scroll, ink on paper, 73×22. 2 2 painting.Cleveland Museum of Art, Cleveland (Leonard C. Hanna, Jr. bequest). China73
Chapter-ending Chronological Overviews
Three new versions of GARDNER’S
Stunning full-color images
C H R O N O L O G I C A LO V E R V I E W■bce to 636 ce3 5 0 0
❙Invention of the wheel 3500 bce
3100 bce ❙Development of writing and the beginnings of recorded history ❙Flow ering of independent city-states 2900 bce ■❙Burialsinthe Royal Cemetery, Ur 1 2300 bce ❙Sargon of Akkad, ca. 2300 bce ❙Naram-Sin, r.ca.2254–2218 bce 2150 bce ❙Gutian invasion, ca. 2150 bce ❙Gudea of Lagash, ca. 2100 bce 2000 bce
1800 bce ■ 2 ❙Hammurabi,r.ca.1792–1750 bce
1600 bce ❙Sack of Babylon by Hittites,ca.1595 bce
1000 bce
ART THROUGH THE AGES
900 bce ❙AshurnasirpalII,r. 883–859 bce ❙Sargon II, r.721–705 bce ❙Ashurnasirpal,r. 668–627 bce 612 bce ■❙N ebuchadnezzar II, r.604–562 bce 3 538 bce ❙DariusI,r. 522–486 bce ❙Xerxes,r. 486–465 bce ❙Battle of Issus, 333 bce 330 bce ❙Death of Alexander the Great, 323 bce ❙usucleSe213.r,ecb182– 224 ce ❙Defeat of Valerian by Shapur I, 260 ce ■❙Shapur II, r.310–379 ce 4 636 ce ❙Final defeat of Persians bythe Arabs, 641ce
■ 1Standard of Ur, ca. 2600 bce
2Stele of Hammurabi, ■ ca.1780 bce
3Ishtar Gate, Babylon, ca. 575bce ■
■ 4Head of Shapur II(?), ca. 350 ce
544 pages. 9 x 11. Paperbound. Full-color. ©2006. ISBN: 0-534-63640-3.
AVAILABLE FEBRUARY 2005!
PACKAGEDFREEWITH: ArtStudy 2.1 CDROM!
ORDER YOUR REVIEW COPY TODAY!
Thomson Wadsworth Source Code 6TPAR014 10650 Toebben Drive Independence, KY 41051
Phone: 1-800-423-0563 Fax: 1-859-647-5020 Email: review@wadsworth.com
GARDNER’S ART THROUGH THE AGES: A CONCISE HISTORY
Fred S. KleinerandChristin J. Mamiya
The story of art in a concise, colorful presentation that resonates with today’s students—ideal for the one-term art history survey course.
In response to many requests for a briefer text,Gardner’s Art through the Ages: A Concise Historyoffers the authoritative scholarship, outstanding image program, and attention to the roles of diversity, women, and patronage found in the comprehensive book, in a more concise format. Authors Fred S. Kleiner and Christin J. Mamiya consulted instructors nationwide who teach the one-term survey of art history to ensure that this text’s coverage corresponds as closely as possible to the works covered in a briefer course.
IMPORTANT FEATURES
An extensively researched and reviewed illus-tration programensures art reproductions of the highest quality—and nearly 100% are in color. Four types of boxesprovide contextual information to supplement the primary text: Architectural Basics, Materials and Techniques, Religion and Mythology, and Art and Society. Enhanced accessibility is achieved witha larger typeface and more color typography than the comprehensive text. Detailed captions accompany every image, providing commentary on the most significant aspects of the artwork. To aid students’ mastery of art history’s vocabulary, the authors italicize and define each key term at its first occur-rence in the text.
TABLE OF CONTENTS
Every chapter ends with a short conclusion summarizing the major themes discussed. These summaries face a Chronological Overview of the chapter material, organized as a vertical timeline with four thumbnail illustrations of characteristic works. AHistorical Atlasat the end of the book contains mapsfor each of the text’s chapters. Map icons in the text margins direct students to the atlas for this added study support. These maps also appear on theArtStudy 2.1 Student CD-ROM. Packaged free with each new copy of the text, the ArtStudy 2.1 Student CD-ROM contains 532 high-quality digital images of works discussed in the text. An icon placed next to image captions in the text identifies works of art that are illustrated on the CD-ROM.
Preface / Introduction: The Subjects and Vocabulary of Art History / 1. Prehistory and the First Civilizations / 2. Greece / 3. The Roman Empire / 4. Early Christianity and Byzantium / 5. The Islamic World / 6. Early Medieval and Romanesque Europe / 7. Gothic Europe / 8. 15th-Century Europe / 9. 16th-Century Europe / 10. Baroque Europe / 11. Europe and America, 1750–1850 / 12. Europe and America, 1850–1900 / 13. Europe and America, 1900–1945 / 14. Europe and America after World War II / 15. South Asia / 16. China / 17. Japan / 18. The Americas / 19. Africa / Historical Atlas / Notes / Glossary
“picture windows.” Rather, the viewer focuses on figure after figure, each sharply outlined against the neutral tone of the ar-chitectural setting or the plain background of the panels. Here, as in his sculpture, Michelangelo relentlessly concentrated his expressive purpose on the human figure. To him, the body was beautiful not only in its natural form but also in its spiritual and philosophical significance. The body was simply the man-ifestation of the soul or of a state of mind and character. Michelangelo represented the body in its most simple, elemen-tal aspect — in the nude or simply draped, with no background and no ornamental embellishment. He always painted with a sculptor’s eye for how light and shadow communicate volume and surface. It is no coincidence that many of the figures seem to be tinted reliefs or full-rounded statues.
Depicting Man’s CreationOne of the ceiling’s central panels isCreation of Adam(FIG. 9-10). Michelangelo did not paint the traditional representation but a bold, entirely hu-manistic interpretation of the momentous event. God and Adam confront each other in a primordial unformed land-scape of which Adam is still a material part, heavy as earth. The Lord transcends the earth, wrapped in a billowing cloud of drapery and borne up by his powers. Life leaps to Adam like a spark from the mighty extended hand of God. The com-munication between gods and heroes, so familiar in classical myth, is here concrete. This blunt depiction of the Lord as
ruler of Heaven in the Olympian pagan sense indicates how easily High Renaissance thought joined classical and Christ-ian traditions. Yet the classical trappings do not obscure the essential Christian message. Beneath the Lord’s sheltering left arm is a female figure, ap-prehensively curious but as yet uncreated. Scholars traditionally believed her to represent Eve but many now think she is the Vir-gin Mary (with the Christ Child at her knee). If this identifica-tion is correct, it suggests that Michelangelo incorporated into his fresco one of the essential tenets of Christian faith. This is the belief that Adam’s Original Sin eventually led to the sacrifice of Christ, which in turn made possible the Redemption of all hu-mankind. As God reaches out to Adam, the viewer’s eye follows the motion from right to left, but Adam’s extended left arm leads the eye back to the right, along the Lord’s right arm, shoul-ders, and left arm to his left forefinger, which points to the Christ Child’s face. The focal point of this right-to-left-to-right movementt — the fingertips of Adam and the Lord — is dramat-ically off-center. Michelangelo replaced the straight architec-tural axes found in Leonardo’s compositions with curves and diagonals. For example, the bodies of the two great figures are complementary — the concave body of Adam fitting the convex body and billowing “cloak” of God. Thus, motion directs not only the figures but also the whole composition. The reclining positions of the figures, the heavy musculature, and the twisting poses are all intrinsic parts of Michelangelo’s style.
10|MICHELANGELOBUONARROTI,Creation of Adam,detail of the ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1511 – 1512. Fresco, approx. 92×188. Life leaps to Adam like a spark from the extended hand of God in this fresco, which recalls the communication between gods and heroes in the classical myths Renaissance humanists admired so much.
260C H A P T E R9|1 6 T H C E N T U R YE U R O P E
Christ on Judgment DayFollowing the death of Julius II, Michelangelo was employed by Leo X (r. 1513 – 1521), Clement VII (r. 1523 – 1534), and Paul III (r. 1534 – 1549). Among Paul III’s first papal commissions wasLast Judgment (FIG. 9-11), a large fresco for the Sistine Chapel’s altar wall. Here, Michelangelo depicted Christ as the stern judge of the world — a giant whose mighty right arm is lifted in a gesture of damnation so broad and universal as to suggest he will de-stroy all creation, Heaven and Earth alike. The choirs of Heaven surrounding him pulse with anxiety and awe. Crowded into the spaces below are trumpeting angels, the as-cending figures of the just, and the downward-hurtling figures of the damned. On the left, the dead awake and assume flesh. On the right, demons, whose gargoyle masks and burning eyes revive the demons of Romanesque tympana (FIG. 6-24), torment the damned. Michelangelo’s terrifying vision of the fate that awaits sin-ners goes far beyond any previous rendition. Martyrs who suf-fered especially agonizing deaths crouch below the Judge. One of them, Saint Bartholomew, who was skinned alive, holds the flaying knife and the skin, its face a grotesque self-portrait of Michelangelo. The figures are huge and violently twisted, with small heads and contorted features. Yet although this immense fresco impresses on the viewer Christ’s wrath on Judgment Day,
Three new versions of GARDNER’S
11|MICHELANGELO BUONARROTI,Last Judgment,fresco on the altar wall of the Sistine Chapel, Vatican City, Rome, Italy, 1534 – 1541. Copyright © Nippon Television Network Corporation, Tokyo.
Michelangelo completed his fresco cycle in the Sistine Chapel with this terrifying vision of the fate that awaits sinners. Near the center, he placed his own portrait on the flayed skin Saint Bartholomew holds.
it also holds out hope. A group of saved souls — the elect — crowd around Christ, and on the far right appears a figure with a cross, most likely the Good Thief (crucified with Christ) or a saint martyred by crucifixion, such as Saint Andrew.
Architecture During the High Renaissance, architects and patrons alike turned to classical antiquity to find a suitable architectural vo-cabulary to convey the new humanist worldview. In the build-ings of ancient Rome, they discovered the perfect prototypes for the domed architecture that became the hallmark of the 16th century.
Bramante’s Little TempleThe leading architect of this classical-revival style at the opening of the century was DONATO D’ANGELOBRAMANTE(1444 – 1514). Born in Urbino and trained as a painter (perhaps by Piero della Francesca), Bra-mante went to Milan in 1481 and, like Leonardo, stayed there until the French arrived in 1499. In Milan, he abandoned paint-ing for architecture. Under the influence of Brunelleschi, Alberti, and perhaps Leonardo, all of whom strongly favored the art and architecture of classical antiquity, Bramante developed the High Renaissance form of the central-plan church.
ART THROUGH THE AGES
I T A L Y261
