Residents I spoke with said the plan was created with no input from ordinary residents of Virupapura Gaddi.
But the demolitions in Virupapura Gaddi made no sense, he said.
Today visitors can see sections of Gaddi's preparatory underdrawing, and some of the artist's pentimenti, or self-corrections, including a now-diaphanous tree used to cover up a misplaced sign.
WSJ: A Heavenly View From On High | Basilica of Santa Croce | Agnolo Gaddi | By Francis X. Rocca
Viewing the works as they were never meant to be seen, at eye level, we discover the thoroughness of Gaddi's craftsmanship, in the care he devoted even to sections invisible from below.
WSJ: A Heavenly View From On High | Basilica of Santa Croce | Agnolo Gaddi | By Francis X. Rocca
We also gain insight into the technique that lies behind illusion, seeing that Gaddi made his figures on the upper levels larger and simpler than those below, to produce a uniform effect for those standing on the pavement.
WSJ: A Heavenly View From On High | Basilica of Santa Croce | Agnolo Gaddi | By Francis X. Rocca
In the psychological expressiveness of his figures and the drama of their interactions, Gaddi shows his debt to Giotto, but his vibrant colors, stylized choreography and playful details of animals and clothing produce a lighter effect, at once mannered and naive.
WSJ: A Heavenly View From On High | Basilica of Santa Croce | Agnolo Gaddi | By Francis X. Rocca
We seem to be a long way from the Exaltation of the Cross, the subject of the last scene in Gaddi's fresco cycle, in which the Emperor Heraclius, having alighted from his horse by order of an angel and walking barefoot like a mendicant friar, bears the relic into the holy city.
WSJ: A Heavenly View From On High | Basilica of Santa Croce | Agnolo Gaddi | By Francis X. Rocca
Hence the excitement over the recent cleaning of the frescoes in Santa Croce's main chapel and the news that the restorers' scaffolding will remain in place for most of 2013, allowing visitors to see Agnolo Gaddi's late-14th-century fresco cycle, "The Legend of the True Cross, " from the vantage point of the artist himself.
WSJ: A Heavenly View From On High | Basilica of Santa Croce | Agnolo Gaddi | By Francis X. Rocca
These paintings were a source for Piero della Francesca's cycle on the same subject, painted in Arezzo in the middle of the following century, though Gaddi, with happy disregard for realism in scale, hardly anticipates the rigorous perspective and complex geometry of Piero's work, not to mention its cold, clear atmosphere or the figures' graceful stillness.
WSJ: A Heavenly View From On High | Basilica of Santa Croce | Agnolo Gaddi | By Francis X. Rocca
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