By Dillian Gordon
. lge fmt, 1981 illus, 2223pp
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Extra info for 100 Great Paintings - Duccio to Picasso
5 7), it offers the opportunity to study the painter's technique. The underdrawing shows through clearly in places, particularly in the drawing of Joseph and the shepherds. It may be that the painting remained unfinished because Piero went blind in his old age. As late as the 17th century it was still in the possession of his heirs in San Sepolcro. 34 "#,"4,' 35 Italian School Paolo c. 20 Paolo Uccello, Paul the Bird, was so called because he loved birds, and kept his house full of pictures or birds, as well as of cats and dogs.
There is no interest in landscape, and the scene has been idealised to the point of abstraction. There is no sign of the Cross or the hill of Golgotha in the distance; Christ's body is immaculate, untouched by wounds or blood. It is, in fact, only through an iconographic association with such pictures as The Entombment by Rogier van der Weyden (now in the Uffizi, Florence), which Michelangelo may have seen Medici collection, that the subject-matter is identifiable. Michelangelo's response to classical sculpture was profound, and in the this instance 1506 a it Roman is possible to identify a specific prototype.
1452-1519 Chalk on paper, mounted on canvas, The word cartoon A Virgin and Child St. 04 derives from the Italian cartone meaning a large sheet of and large-scale panel-paintings would normally make a small sketch for a picture and then scale it up to the size required. The outlines were pricked through on to the gesso and pounced: that is, charcoal was dusted through the holes, leaving an outline for painting when the paper was removed. This large-scale drawing, dating from the mid- 1490s, is in black chalk heightened with white, on several sheets of reddish-buff paper stuck together and now attached to a canvas.
100 Great Paintings - Duccio to Picasso by Dillian Gordon