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Extra resources for Origami from Angelfish to Zen (Dover Origami Papercraft)
The composition includes aspects of contemporary rural life. There is nothing new about this approach (Ambrogio Lorenzetti had already used this technique a century earlier). The innovative nature of the background, however, lies in the shadows cast by the objects, animals and people on which Giovanni di Paolo focuses with such evident delight, bringing into play all the saooir-jaire of an artist living at the time when perspective was discovered. 10 He even remembers to insert in the upper left-hand corner the source of the whole lighting effects - the sun shining over the right-hand side of the painting.
Indeed, in the long chapter devoted to the creating of frescoes (LXVII), Cennini dwells on how the flesh of a youthful face should be painted as an essential part of the new Tuscan art (illus. 10): And let us suppose that in a day you have just one head to do, a youthful saint's, like Our Most Holy Lady'S.... Make a fine pointed brush out of flexible, thin bristles, to fit into the quill of a goose feather; and with this brush indicate the face which you wish to do, remembering to divide the face into three parts, that is, the forehead, the nose, and the chin counting the mouth.
He] introduced movement, vigour and life into the attitudes, giving the figures a certain appropriate and natural relief that no painter had ever succeeded in obtaining before. . His works possess harmony and sweetness, the flesh-colour of the heads and of his nudes blending with the tints of draperies, which he delighted to make in a few easy folds, with perfect nature and grace. This has proved most useful to artists and for it he deserves as much praise as if he had invented it. For the things made before his time may be termed paintings merely, and by comparison his creations are real, living and natural.