History of art . 416 MEDIEVAL ART tial function; Rubens seems to force into theatricalattitudes the inner movement that arranges and dis-tributes; and Rembrandt, at times, seems to be seekingeffects. The order that all of them feverishly pursuein the sudden intuitions, the tempests, the revolts, or. Orcagna. Paradise, detail, fresco. Florence.) (Santa Maria Novella, the sustained tension of the spirit enters into Giottowith the emotion itself, and he acquires an architec-tural and plastic character through the harmoniousmeeting of the mind and the heart. And, consideredin this way, the composi
History of art . 416 MEDIEVAL ART tial function; Rubens seems to force into theatricalattitudes the inner movement that arranges and dis-tributes; and Rembrandt, at times, seems to be seekingeffects. The order that all of them feverishly pursuein the sudden intuitions, the tempests, the revolts, or. Orcagna. Paradise, detail, fresco. Florence.) (Santa Maria Novella, the sustained tension of the spirit enters into Giottowith the emotion itself, and he acquires an architec-tural and plastic character through the harmoniousmeeting of the mind and the heart. And, consideredin this way, the composition of Giotto is perhapsthe greatest miracle in the history of painting. I saymiracle, because a miracle is the most spontaneousrealization in action of the desire that is most inacces-sible in the mind. These clasped hands, these fingersthat clutch at the breast, these bodies kneeling or
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Keywords: ., boo, bookcentury1900, bookdecade1920, booksubjectart, bookyear1921
