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1 Written in , Michael Baxandall’s Painting and Experience in Fifteenth Century Italy: A Primer in the Social History of Pictorial Style was indeed a “primer ”. Painting and Experience was the author s second book, published a year after Baxandall does not mention any of these scholars in Painting and Experience. 1 All references are to the first edition: M. Baxandall: Painting and Experience in. Fifteenth Century Italy, Oxford 2 U. Middeldorfin the Art.

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It is a good few years since I read it, but it has stayed with me. The cognitive style 4.

Painting and Experience in Fifteenth-Century Italy

Hal Foster, The Anti-aesthetic: I appreciate art criticism that looks at the world that surrounds the works, I think a myopic focus on the work or the artists is usually not very interesting. I’ve found the book a very bxandall reference in writing and teaching, for what he subtitles, “A primer in the social history of pictorial style.

For anyone interested in understanding the Italian Renaissance, this book is an essential. Conclusion Text and References Index. The degree of presence of these three cultural elements varied from individual to individual, but all had the three.

Plus it’s short book. Experisnce 06, DoctorM rated it really liked it Shelves: This implied that paintings could not become too particular and conflict with the inner minds of the beholders. He died of pneumonia associated with Parkinson’s disease on August 12, at the age of Some stock scenes were also taken as generic examples of specific virtues. Mar 31, Karen rated it it was amazing Shelves: Oct 29, Michael McNamara rated it really liked it.


Baxandall claims that gauging, which was an indispensable component of the commercial affairs of the merchant, was also a skill that he readily drew upon to make distinctions among paintings; and the painters were baxandal aware of this Figure 3. Sep 14, Daniel Burton-Rose rated it it was amazing. The images of the symmetry-obsessed Piero, can easily become a game of identification of the geometric forms used. To my mind the experiencf of how did the fifteenth century man experience the fifteenth century picture is an absolutely valid and powerfully useful one, but then much of my own experience of art is that of the gallery wanderer.

Excellent look at the business and painterly vocabulary of art in Quattrocento Italy how contracts between painter and patron worked, what the economics of paints and canvas and apprentices were like, and what stock gestures and poses said to an urban Italian audience. Trivia About Painting and Expe Harmonies of the spheres had already elevated music, and, painhing any reader of Dante knows, numbers could be the hidden framework of writings that helped mystical contemplation.

This little book changed the mind of many art historians and not just those of Renaissance specialists. The value of clours 9. Oxford University Press, De arimethica Florence, Painting and Experience in Fifteenth Century Italy An introduction to 15th century Italian painting and the social history adn it, arguing that the two are interlinked and that the conditions of the time helped fashion distinctive elements in the painter’s style. Anyone who experienec the Renaissance.

This book completely changed the way I Will experience visual art, it taught me a lot about 15th century Italy and it made me smile. Restless Ambition Cathy Curtis.

A very interesting and helpful book, particularly for it’s explanation and categorization of images of the Annunciation in Renaissance artwork. As artistry was replacing gold leaf and lapis lazuli, a language had to develop to refer to this newly valued quality. In spite of the simplicity of this idea, Baxandall carved a break through.


My need to confront my subjective approach with another but different subjective view leads me to respond well to this book. Oxford University Press- Architecture – pages.

Painting and Experience in Fifteenth-Century Italy – Michael Baxandall – Oxford University Press

In this process, this perceived immateriality was also the quality that helped the craftsmen, gradually, to fashion experiejce own persona as artists.

Renaissance painting, for example, mirrors the experience of such activities as preaching, dancing, and gauging barrels. Conditions of Trade 1. Very interesting insights into the Renaissance, and experiience processes involved in painting. I’d be interested to see what has happened in the intervening years. With relevant references to quattrocento texts we are given a true perspective on the artists and the audiences on the meaning of art.

Jul 14, Manda rated it really liked it Shelves: This easy-to-use rule is an example of the continuity between the practices of commercial culture and the looking at paintings.

I read the chapter about the contracts, which were made to assure a painter’s good work, he had to use a certain kind of material, precise in the contract, otherwise he would not be payed or worse imprisoned. Read for class – ridiculously boring.