Paolo Uccello  

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Paolo worked in the [[International Gothic|Late Gothic]] tradition, and emphasized colour and pageantry rather than the Classical realism that other artists were pioneering. His style is best described as idiosyncratic, and he left no school of followers. He had some influence on twentieth century art and literary criticism. Paolo worked in the [[International Gothic|Late Gothic]] tradition, and emphasized colour and pageantry rather than the Classical realism that other artists were pioneering. His style is best described as idiosyncratic, and he left no school of followers. He had some influence on twentieth century art and literary criticism.
 +==Works==
 +[[John Pope-Hennessy|Pope-Hennessy]] is far more conservative than the Italian authors: he attributes some of the works below to a "Prato Master" and a "Karlsruhe Master". Most of the dates in the list (taken from Borsi and Borsi) are derived from stylistic comparison rather than from documentation.
 +[[Image:Firenze.Duomo.clock.JPG|thumb|right|250px|Clock in the Duomo, Florence.]]
 +
 +*''Annunciation'' (c. 1420–1425) -<small> Ashmolean Museum, [[Oxford]]</small>
 +*''Creation and Fall'' (c.1424–1425) -<small> Lunette and lower section, Chiostro Verde, [[Basilica di Santa Maria Novella|Santa Maria Novella]], Florence</small>
 +*''Adoration of the Magi'' (c. 1431–1432) -<small> Staatliche Kunsthalle, [[Karlsruhe]]</small>
 +*''St George and the Dragon'' (c. 1431) -<small> [[National Gallery of Victoria]], [[Melbourne]]</small>
 +*''Quarate Predella'' (c. 1433) -<small> Museo diocesano di Santo Stefano al Ponte, Florence</small>
 +*''Frescoes in the Capella dell' Assunta'' (c. 1434–1435) -<small> [[Cathedral of Prato|Duomo]], Prato</small>
 +*''Nun-Saint with Two Children'' (c.1434–1435) -<small> Contini-Bonacosi Collection, Florence</small>
 +*''[[Funerary Monument to Sir John Hawkwood]]'' (c. 1436) -<small> [[Santa Maria del Fiore|Duomo]], Florence</small>
 +*''[[The Battle of San Romano]]'', consisting of:
 +:*''Battle of San Romano: Niccolò da Tolentino'' (c. 1450–1456) -<small> [[National Gallery, London]]</small>
 +:*''Battle of San Romano: Bernadino della Ciarda unhorsed'' (c. 1450–1456) -<small> [[Galleria degli Uffizi]], Florence</small>
 +:*''[[Battle of San Romano: Micheletto da Cotignola]]'' (c.1450) -<small> [[Musée du Louvre]], Paris</small>
 +*''St George and the Dragon'' (c. 1439–1440) -<small> [[Musée Jacquemart-André]], Paris</small>
 +*''Clock Face with Four Prophets/Evangelists'' (1443) -<small> Duomo, Florence</small>
 +*''Resurrection'' (1443–1444) -<small> [[stained glass]] window, Duomo, Florence</small>
 +*''Nativity'' (1443–1444) -<small> stained glass window, Duomo, Florence</small>
 +*''Story of Noah'' (c. 1447) -<small> lunette and lower section, Chiostro Verde, Santa Maria Novella, Florence</small>
 +*''Scenes of Monastic Life'' (c. 1447–1454) -<small> [[Basilica di San Miniato al Monte|S. Miniato al Monte]], Florence</small>
 +*''[[Saint George and the Dragon (Uccello)|Saint George and the Dragon]]'' (c. 1450-55) -<small> National Gallery, London</small>
 +*''Crucifixion'' (c. 1457–1458) -<small> Thyssen-Bornemisza Collection, Madrid</small>
 +*''Life of the Holy Fathers'' (c. 1460–1465) -<small> [[Accademia dell'Arte del Disegno|Accademia]], Florence</small>
 +*''Miracle of the Profaned Host'' (1467–1468) -<small> [[predella]], Galleria Nazionale delle Marche, [[Palazzo Ducale, Urbino|Palazzo Ducale]], [[Urbino]])</small>
 +*''[[The Hunt in the Forest]]'' (c. 1470) -<small>- [[Ashmolean Museum]], Oxford </small>
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Paolo Uccello (born Paolo di Dono, 1397December 10 1475) was an Italian painter who was notable for his pioneering work on visual perspective in art. Giorgio Vasari in his book Lives of the Artists wrote that Uccello was obsessed by his interest in perspective and would stay up all night in his study trying to grasp the exact vanishing point. He used perspective in order to create a feeling of depth in his paintings and not, as his contemporaries, to narrate different or succeeding stories.

His best known works are the three paintings representing the battle of San Romano (for a long time these were wrongly entitled the "Battle of Sant' Egidio of 1416").

Paolo worked in the Late Gothic tradition, and emphasized colour and pageantry rather than the Classical realism that other artists were pioneering. His style is best described as idiosyncratic, and he left no school of followers. He had some influence on twentieth century art and literary criticism.

Works

Pope-Hennessy is far more conservative than the Italian authors: he attributes some of the works below to a "Prato Master" and a "Karlsruhe Master". Most of the dates in the list (taken from Borsi and Borsi) are derived from stylistic comparison rather than from documentation.

Image:Firenze.Duomo.clock.JPG
Clock in the Duomo, Florence.
  • St George and the Dragon (c. 1439–1440) - Musée Jacquemart-André, Paris
  • Clock Face with Four Prophets/Evangelists (1443) - Duomo, Florence
  • Resurrection (1443–1444) - stained glass window, Duomo, Florence
  • Nativity (1443–1444) - stained glass window, Duomo, Florence
  • Story of Noah (c. 1447) - lunette and lower section, Chiostro Verde, Santa Maria Novella, Florence
  • Scenes of Monastic Life (c. 1447–1454) - S. Miniato al Monte, Florence
  • Saint George and the Dragon (c. 1450-55) - National Gallery, London
  • Crucifixion (c. 1457–1458) - Thyssen-Bornemisza Collection, Madrid
  • Life of the Holy Fathers (c. 1460–1465) - Accademia, Florence
  • Miracle of the Profaned Host (1467–1468) - predella, Galleria Nazionale delle Marche, Palazzo Ducale, Urbino)
  • The Hunt in the Forest (c. 1470) -- Ashmolean Museum, Oxford




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