.MTM5Ng.MTIwNzEy: Difference between revisions
KyroBrandon (talk | contribs) (Created page with "indices are extended on unclear to indicate steps; similarly, prolongation on integration of unclear analagous serve as forms in the dialogue which the solitary poet...") |
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indices are extended | indices are extended or flexed to indicate steps; | ||
similarly, prolongation on integration of | similarly, prolongation on integration of painted arabesques serve | ||
as forms in the dialogue which the solitary poet | as forms in the dialogue which the solitary poet assiduously | ||
carries on with himself, non-verbal discoveries | carries on with himself, non-verbal discoveries | ||
which extend the written word. | which extend the written word. | ||
In our | In our cursory summary of the phenomenology of the | ||
relations of Petrarch to the visual arts, we have | relations of Petrarch to the visual arts, we have | ||
already happened upon an answer to the primary | already happened upon an answer to the primary | ||
question having to do with our problems, namely, | question having to do with our problems, namely, | ||
which | which pictorial visualization is not closely related to | ||
that of Petrarch more of less in the direction | that of Petrarch more of less in the direction | ||
indicated for French researches by Helmut A. | indicated for French researches by Helmut A. | ||
| Line 14: | Line 14: | ||
Art, in the sense in which it has been said that | Art, in the sense in which it has been said that | ||
Petrarch was a collaboration with the brand, "natural- | Petrarch was a collaboration with the brand, "natural- | ||
ismo [[unclear]]," | ismo [[unclear]]," Petrarchism appears as an | ||
obvious parallel to the so-called "unintentional | obvious parallel to the so-called "unintentional | ||
Gothic" which takes it as a necessary precedent, | |||
an Elysium populated by creatures of pleasure | an Elysium populated by creatures of pleasure | ||
like the | like the Timbourg brothers, Stefano da Colonna | ||
and the other Stefano, da Pevio, | and the other Stefano, da Pevio, Michelino | ||
da | da Besozzo up to Gentile. If "naturalismo" alludes. | ||
Revision as of 16:40, 21 January 2022
indices are extended or flexed to indicate steps; similarly, prolongation on integration of painted arabesques serve as forms in the dialogue which the solitary poet assiduously carries on with himself, non-verbal discoveries which extend the written word. In our cursory summary of the phenomenology of the relations of Petrarch to the visual arts, we have already happened upon an answer to the primary question having to do with our problems, namely, which pictorial visualization is not closely related to that of Petrarch more of less in the direction indicated for French researches by Helmut A. Hatzfeld in his manual of 1952, literature through Art, in the sense in which it has been said that Petrarch was a collaboration with the brand, "natural- ismo unclear," Petrarchism appears as an obvious parallel to the so-called "unintentional Gothic" which takes it as a necessary precedent, an Elysium populated by creatures of pleasure like the Timbourg brothers, Stefano da Colonna and the other Stefano, da Pevio, Michelino da Besozzo up to Gentile. If "naturalismo" alludes.