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Cast shadows have been exploited in art to enhance the impression of the surrounding light as well as that of the solidity of the casting objects. They can contribute to the mood of the scene, and can reveal the presence of features outside the space represented, but as Professor Gombrich points out, they appear only sporadicaly and have been more frequently ignored or suppressed in Western art. Gombrich touches on the ambiguous nature of shadows in myth, legend, and philosophy, and briefly analyses the factors governing their shape: the location and form of the light source, the shape of the illuminated object and that of the surface on which the shadow falls, and the position of the viewer. Early Renaissance painters such as Masaccio and Campin, intent on a faithful rendering of visual reality, did incorporate shadows in their art, but artists of Leonardo's time largely avoided painting them, and it was not until early in the seventeenth century that painters - particualrly Caravaggio and Rembrandt - were again interested in the effects of shadows. In subsequent centuries artists of the Romantic, Impressionist and Surrealist movements exploited the device of the cast shadow to enhance the realism or drama of their images.

Art --- shadows --- National Gallery [London] --- Shades and shadows in art --- Exhibitions --- Painting [European ] --- Kunst --- schaduwen --- National Gallery [Londen] --- CDL --- 7.03 --- Visual perception --- Paintings. --- 742.5 --- 7.017.9 --- #BIBC:ruil --- Schilderkunst ; schaduwbeelden ; geschiedenis ; functie --- Schaduwen --- 7.049 --- 75.049 --- 76.049 --- 7.017.2 --- 75.017.2 --- E.H.Gombrich --- Gombrich Ernst --- kunsttheorie --- licht en schaduw --- schaduw --- schilderkunst --- slagschaduw --- 7.017 --- 7.01 --- 7.017.9 Esthetica: andere optische effecten, perspectief, illusie --- Esthetica: andere optische effecten, perspectief, illusie --- 742.5 Schaduwprojectie. Profieltekenen. Silhouetten --- Schaduwprojectie. Profieltekenen. Silhouetten --- Iconografie ; verschillende onderwerpen --- Schilderkunst ; verschillende onderwerpen --- Grafische kunst ; iconografie ; verschillende onderwerpen --- Kunst ; clair-obscur ; licht en schaduw --- Schilderkunst ; clair-obscur ; licht en schaduw --- Ombres dans l'art --- Technique --- Ombres dans l'art - Expositions --- Art - Technique - Expositions

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History of the Netherlands --- History of Belgium and Luxembourg --- anno 1700-1799 --- anno 1800-1999 --- Belgique --- België --- Geschiedenis van de nieuwste tijden --- Histoire contemporaine --- Nederland --- Pays-Bas --- geschiedenis --- geschiedkundige beschrijvingen --- #gsdb8 --- 949.19.03 --- #GBIB:SMM --- 949.2/.3 --- 949.2 "1914/1980" --- 949.2.07/.09 --- 949.3.03/.04 --- #C9111 --- Lage Landen --- 20e eeuw --- 935 --- Geschiedenis van de Nederlanden:--(1795-1945) --- geschiedenis België - 20e eeuw --- 949.2 "1780/1914"" --- 949.2.05/.07 --- 949.3.031/.033 --- #C9205 --- Benelux countries --- History. --- 949.19.03 Geschiedenis van de Nederlanden:--(1795-1945) --- Belgium --- History --- 1700-1794 --- From 1794 --- Netherlands --- 1714-1795 --- 1795-1815 --- 1815-1830 --- 1830

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History of the Low Countries --- Belgique --- België --- Geschiedenis --- Histoire --- Nederland --- Pays-Bas --- Europa --- Nationalism --- 323 <491.9> --- -#SBIB:321H81 --- #SBIB:AANKOOP --- 323.11 <492> --- 172.15 <492> --- 316.75 <492> --- #A9411A --- #KVHA:Geschiedenis; Nederlanden --- 331.32 --- Nationalisme --- Nederlanden --- Consciousness, National --- Identity, National --- National consciousness --- National identity --- International relations --- Patriotism --- Political science --- Autonomy and independence movements --- Internationalism --- Political messianism --- Binnenlandse politiek--De Nederlanden. Benelux --- Westerse politieke en sociale theorieën vanaf de 19e eeuw : nationalisme, corporatisme, fascisme, nationaal socialisme, rechtsextremisme, populisme --- geschiedenis --- geschiedenis. --- 323 <491.9> Binnenlandse politiek--De Nederlanden. Benelux --- 949.3.032 --- 949.19.03 --- 949.3.032 Geschiedenis van België: Verenigd Koninkrijk der Nederlanden (1815-1830) --- Geschiedenis van België: Verenigd Koninkrijk der Nederlanden (1815-1830) --- 949.19.03 Geschiedenis van de Nederlanden:--(1795-1945) --- Geschiedenis van de Nederlanden:--(1795-1945) --- België. --- Europa. --- Nederland. --- Geschiedenis. --- #SBIB:321H81 --- National movements --- Nationalism - Netherlands.

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German newspapers --- Nationalism --- Newspapers --- German newspapers - Germany - Bavaria --- Nationalism - Germany (West)

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Norm and Form is the first volume of E.H. Gombrich's highly influential collected contributions to the study of Renaissance art and thought. Its 11 essays deal with some of the most fundamental questions of style, patronage, taste, working methods and theories of art, presented with the author's customary learning and lucidity. Required reading for all students of the Renaissance, these essays are sure to be enjoyed by all who wish to deepen their understanding of one of the most creative periods of Western art.In this second volume of his classic essays on the Renaissance, E H Gombrich focuses on a theme of central importance: visual symbolism. He opens with a searching introduction ('The Aims and Limits of Iconology'), and follows with detailed studies of Botticelli, Mantegna, Raphael, Poussin and others. The volume concludes with an extended study of the philosophies of symbolism, demonstrating that the ideas which preoccupied the philosophers of the Renaissance are still very much alive today.Like its predecessor, Norm and Form, this volume is indispensable for all students of Renaissance art and thought as a work that has itself helped to shape the evolving discipline of art history. Reflecting the author's abiding concern with standards, values and problems of method, it also has a wider interest as an introduction to the fundamental questions involved in the interpretation of images.The third volume of E H Gombrich's seminal essays on the Renaissance has the classical tradition as its central theme. Apelles, the most famous painter of ancient Greece, was said to have combined perfect beauty with supreme skill in imitating the appearances of nature. These twin ideals of perfect beauty and perfect imitation of nature, which were inherited from classical antiquity and remained unchallenged as the cornerstone of art until the twentieth century, form the starting-point for these learned and always stimulating essays. Whether discussing the rendering of light and lustre, the working methods of Leonardo da Vinci or the principles of criticism, the author's analyses and interpretations are underpinned by a deep conviction that, despite the apparent abandonment of the Renaissance ideals in the twentieth century, questions about traditions, values and standards are still of fundamental importance. This wider concern gives these essays a continuing vitality, not only for students but also for anyone interested in art and culture.The concluding volume of the series looks afresh at some of the greatest masters, including Giotto, Leonardo, Raphael and Michelangelo Original, lucid and undogmatic in their approach to methods, these essays are models of good art-historical writing As a series, Gombrich on the Renaissance represents a vitally important humanistic tradition in scholarship and criticism

Kunsttheorie ; E.H. Gombrich over de Renaissance --- Kunstgeschiedenis ; Renaissance. Barok. Rococo --- Kunst ; theorie, filosofie, esthetica --- Aesthetics --- anno 1400-1499 --- anno 1500-1599 --- Art --- Philosophy --- Gombrich, Ernst Hans --- Criticism and interpretation --- 700.6 --- 705.4 --- 7.034 --- 7.01 --- Art, High Renaissance --- Art, Italian --- Art, Renaissance --- Art, Italian. --- Composition (Art) --- High Renaissance --- Aesthetics of art