The History of Painting in Italy Vol-4' by Luigi Lanzi is a comprehensive and academic work that indulges into the vibrant world of Italian painting. As the fourth volume in the series, this book focuses on the evolution of painting in Italy during a specific period, providing a detailed account of artistic developments and key artists. The author provides insightful analyses of notable paintings, discussing their composition, symbolism, and artistic innovations. Lanzi also delves into the cultural, political, and social contexts that influenced the Italian art scene, providing readers with a deeper understanding of the historical backdrop against which these masterpieces were created. The story is a valuable resource for art historians, scholars, and art enthusiasts alike. Lanzi's meticulous research, combined with his engaging writing style, makes this book an authoritative and captivating exploration of the rich and diverse world of Italian painting.

Luigi Lanzi was an Italian art historian and archaeologist. When he died he was buried in the church of the Santa Croce at Florence by the side of Michelangelo.

"The History of Painting in Italy - Volume IV" from Luigi Lanzi. Italian art historian and archaeologist (1732-1810).

The History of Painting in Italy, Vol-6 is the final volume of a six-volume work by Luigi Lanzi. The work is a comprehensive history of painting in Italy from the 13th to the 18th centuries, and it is considered to be one of the most important works of art history ever written. Vol-6 covers the period from the late 17th century to the end of the 18th century. This period saw the rise of new artistic styles, such as Rococo and Neoclassicism, and it also saw the decline of the Italian Renaissance tradition. Lanzi provides a detailed overview of the major artists and works of art of this period, and he also discusses the social and cultural factors that influenced the development of Italian painting. The History of Painting in Italy, Vol-6 is a valuable resource for anyone interested in the history of art. It is a well-researched and informative work that provides a comprehensive overview of a critical period in the development of Italian painting.

Excerpt from A History of Painting in Italy, Vol. 4: Florentine Masters of the Fifteenth Century Ghiberti, who enthusiastically urges the claim of the Tuscan school of painting to the perfection of the Greeks? But who need not be taken as literally meaning all that he says in this respect, had clearly intended, at the outset of his career, to become a painter. Unwilling, perhaps, to compete with his father, who was a sculptor, he chose to forget the rules of plastic art. The competition for the gates of S. Giovanni altered his resolve; and he went in for the prize with others, amongst Whom was not Donatello, as we are now aware.' The manner in which he carried out the work of the first gate, in company with Barto luccio, his father, illustrates a remarkable tendency in the age, the introduction of a style exclusively pictorial in the execution of has-relief, a new feature that was soon to find its concomitant in painting.6 The prototype of Ghiberti in his first great enter prise is Giovanni Pisano, the general aspect of whose work, its unity, distribution, action, and festooned drapery, were obviously in the later artist's mind. Giovanni had already introduced into his sculpture a pictorial element unknown to Nicola.6 This. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Reproduction of the original: The History of Painting in Italy, Volume VI (of 6) by Antonio Lanzi Luigi

After a consideration of the principles and progress of painting in Lombardy, I came to the conclusion that its history ought to be treated and arranged in a manner altogether different from the rest of the schools. Indeed those of Florence, of Rome, of Venice, and of Bologna, may be almost considered in the light of so many dramas, in which there occurs an interchange of acts and scenes, for such are the epochs of each school; and there is also a change of actors, for such are the masters of each new period; but the unity of place, which is no other than the capital city, is invariably preserved; while the principal actors, and as it were protagonists of the story, always continue in action, at least in the way of example. Every capital, it is true, is in possession of its own state, and in that ought to be comprehended the various other cities, and the revolutions in each; but these are in general so nearly connected with those of the metropolis as to be easily reducible to the same leading law, either because the state artists have acquired the art in the principal city, or because they have taught it there, as may easily be gathered from the history of the Venetian School; while the few who wander out of the usual routine, cannot be said to infringe greatly upon the unity of the school and the succession of its histories. But it happens differently in the history of Lombardy, which, in the happier periods of the art, being divided into many more districts than it now is, possessed in each state a school distinct from all the others; enumerated also distinct eras; and when the style of one influenced that of another, such a circumstance occurred neither so universally, nor so near in regard to time, as to admit of the same epoch being applied to many of them. Hence it is, that even from the outset of this book, I renounce the received manner of speaking which would mention the Lombard School, as if in itself constituting one school, in such a way as to be compared for instance with the Venetian, which in every place acknowledged the sway of its sovereign masters; of the Bellini first, next of Titian and his noblest contemporaries, and then of Palma; and moreover established several characteristics of design, of colouring, of composition, of the use of the pencil, so as easily to distinguish it from every other school. But in that which is called the Lombard the case is otherwise. For its founders, such as Lionardo, Giulio, the Campi, and Coreggio, are too widely opposed to each other to admit of being brought under one standard of taste, and referred to the same epoch. I am aware that Coreggio, being by birth a Lombard, and the originator of a new style that afforded an example to many artists in that part of Italy, has conferred the name of Lombard School upon the followers of his maxims; and according to these characteristics the contours were to be drawn round and full, the countenance warm and smiling, the union of the colours strong and clear, the foreshortenings frequent, with a particular regard to the chiaroscuro. But the school thus circumscribed, where shall we find a place for the Mantuans, the Milanese, the Cremonese, and the many others who, having been born, and having flourished in Lombardy, and moreover being the tutors of a long extended line, justly deserve a rank among the Lombards.

"The History of Painting in Italy Vol-1" by Luigi Lanzi is a comprehensive and influential work that explores the rich artistic heritage of Italy. In this volume, Lanzi lays the foundation for understanding Italian painting by tracing its origins and early developments. He explores the art of ancient Rome, Byzantium, and the early Christian era, highlighting the influence of these periods on the subsequent development of Italian painting. The author provides detailed analyses of notable artworks, discussing their stylistic characteristics, technical innovations, and historical significance. Lanzi's in-depth examination of Italian painting during this early period offers readers a comprehensive understanding of the artistic and cultural context that laid the groundwork for future artistic achievements in Italy. This story serves as a valuable resource for art historians, scholars, and enthusiasts seeking to delve into the origins of Italian painting. The author's meticulous research, combined with his engaging narrative, makes this book an authoritative exploration of the artistic legacy of Italy from its early beginnings.