By Jim stinnett
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Extra resources for Creating Jazz Bass Lines
Today we as a religious object, as the visual Cathedral, Cathedral illuminated lucky to have it Long used and spiritual focus of the by candles and transforming the into the throne itself its are denied any sense of the Maestd room of Paradise. But we are at all. to accurate representation, we cannot imagine the overpowering impression of physical presence that Duc- Madonna must have created six and a half centuries ago. more vivid because the division between the physical world and the spiritual world was less drastic than it is now.
Early developed his an old-fashioned formula —gentle own variation of Madonnas with plenty of gold and pure bright color, decorative in a saccharine way. He was content to repeat the although us, tiresomely, formula indefinitely and, for now and mass of his work, one runs into Domenico is then, among the repetitive a painting of great di Bartolo Ghezzi charm. 1400-c. 1449) (the (c. Ghezzi usually omitted) was the only Sienese painter of his genera- tion to be stirred He attempted classical by the innovations of Masaccio in Florence.
Duccio a school of late-medieval painting was the foinitainhead of and often intense style; yet his flour- around of later Sienese painters, echoes of Duccio's influence were carried northward to affect an international style that in art turn contributed to the miracle of medieval final — Netherlandish painting of the fifteenth century. Giotto's istic clarity artists to power and Duccio's refinement, Giotto's humanand Duccio's mystical tenderness, brought both expressions so complete that never existed it would certainly seem if one of them had to us that the other, whether Duccio or Giotto, was the natural, the inevitable, the only possible and unapproachable master painter for that particular moment — to the art historian.