The Social History of Art, Volume 2

absolutely academies according aesthetic already aristocracy artistic attitude baroque become beginning bourgeois bourgeoisie Brun character chivalry Church circles classical antiquity classical art classicistic conception of art Counter Reformation court courtly culture direct Donatello drama ecclesiastical economic elements Elizabethan expression fact feeling fifteenth century Filippo Lippi Florence Fra Angelico France frescoes Gentile da Fabriano Gothic guilds High Renaissance history of art humanists Ibid idea ideal important individual influence intellectual interest Italian Italy Leonardo longer Lorenzo mannerism manneristic Masaccio masters MAX DVOŘÁK means Medici medieval ment merely Michelangelo Middle Ages middle class modern Molière moral naturalistic nature nobility outlook painters painting patron period Photo Anderson picture plays poet political princes principles production purely Quattrocento Raphael rationalism reality religious Rembrandt Renais representation represented Rome rule sance Shakespeare social society space spatial spiritual style taste tendency theatre Tintoretto tion ture Vasari whole Woelfflin