000			02944pam a2200421 a 4500
001			99020880
003			AE-DuAU
005			20241127164343.0
008			050915s1999 ctu b 001 0 eng
010			_a 99020880
020			_a0300081359 : _c55.00
040			_aDLC _cDLC _dDLC
043			_ae-it---
050	0	0	_aN6921.V5 _bH56 1999
069			_a09930635
090			_aN 6921 .V5 H56 1999
090			_aN 6921 .V5 H56 1999
100	1		_aHills, Paul. _964708
245	1	0	_aVenetian colour : _bmarble, mosaic, painting and glass, 1250-1550 / _cPaul Hills.
260			_aNew Haven, CT : _bYale University Press, _cc1999.
300			_ax, 247 p. : _bill. (chiefly col.) ; _c30 cm.
336			_2rdacontent _atext _btxt
337			_2rdamedia _aunmediated _bn
338			_2rdacarrier _avolume _bnc
504			_aIncludes bibliographical references (p. 236-241) and index.
520		0	_aFrom the Middle Ages to this day, the colours of Venice have cast their spell over visitors to the city and inspired artists as diverse as Rubens, Rembrandt, Van Dyck, Velazquez, Turner, and Monet. This wide-ranging book traces the origin of that enchantment by exploring for the first time Venetian colour in relation to social, cultural, and environmental forces. Italian Renaissance art historian Paul Hills shows how, between 1250 and 1550, the city of Venice and the luxuries manufactured and traded there prompted particular ways of attending to colour. He argues that Venetian colour -- in buildings, table glass, and dress as well as paintings-was the product of a lagoon site and a mercantile culture.
520	8	0	_aExquisitely illustrated with over one hundred and fifty works of art and architecture, the book analyzes the colored marbles and mosaics in San Marco, examines the achievements of the Murano glass makers of the fifteenth century, and focuses attention on Giovanni Bellini's pictorial light and colour. Discussion of Renaissance dress and sumptuary regulations illuminates the social dimension of Venetian colour. The author shows, for example, how Titian's portraits responded to new fashions in velvets, satins, and semi-translucent veils. In the final chapter Hills questions the traditional opposition of Florentine line to Venetian colour, suggesting that Titian's bravura handling of the brushstroke was nurtured through his early experience of mosaics and woodcuts.
650		0	_aArt, Gothic _zItaly _zVenice. _973480
650		0	_aArt, Renaissance _zItaly _zVenice. _973481
650		0	_aColor in art. _973482
852			_9p55.00 _y12-22-2001
907			_a13277 _b08-06-10 _c08-06-10
942			_cBOOK _01
998			_aaudmc _b12-22-01 _cm _da _e- _feng _gctu _h0
935			_a2ND BK OR 2000-2001
945			_g0 _i623223 _j0 _laudmc _nCopy Type:01 - Books _o- _p202.13 _q- _r- _s- _t1 _u1 _v0 _w1 _x0 _yi10187765 _z08-06-10
999			_c13277 _d13277