Under the horses' feet according to Uccello.
Henry Dougier Workshops| N° d'inventaire | 26223 |
| Format | 13.5 x 19.5 |
| Détails | 140 p., paperback with flaps. |
| Publication | Paris, 2023 |
| Etat | Nine |
| ISBN | 9791031205458 |
Collection: "The novel of a masterpiece".
At the end of the 1930s, in his studio in Florence, among the painted wooden chests and trays, Paolo di Dono, known as Paolo Uccello ("Paolo the Bird"), put the finishing touches to the triptych of the Battle of San Romano, commissioned by Cosimo de' Medici to celebrate the victory a few years earlier of the illustrious Florentine condottieri against Siena and its allies.
Antonio, the son of a baker from the Mercato Vecchio, who has just been hired by the master, dreams of becoming a great painter but is confronted with the reality of the tasks assigned to a commis: cleaning, making brushes, preparing tempera, glues, and mordants. In the midst of this painting kitchen, and in the at once laborious and childish atmosphere of Paolo's studio, the chaos of the Battle of San Romano gradually takes shape in Antonio's eyes. In the forest of pikes and lances, in the tumult of weapons and horses, the order of that "sweet thing" that was perspective—or so they say—according to Paolo Uccello is revealed.
Conceived as the predella of a lost altarpiece, this tale with a double vanishing point brings together the speculations of a melancholic and whimsical genius, and the impatient imagination of a child apprentice.
Collection: "The novel of a masterpiece".
At the end of the 1930s, in his studio in Florence, among the painted wooden chests and trays, Paolo di Dono, known as Paolo Uccello ("Paolo the Bird"), put the finishing touches to the triptych of the Battle of San Romano, commissioned by Cosimo de' Medici to celebrate the victory a few years earlier of the illustrious Florentine condottieri against Siena and its allies.
Antonio, the son of a baker from the Mercato Vecchio, who has just been hired by the master, dreams of becoming a great painter but is confronted with the reality of the tasks assigned to a commis: cleaning, making brushes, preparing tempera, glues, and mordants. In the midst of this painting kitchen, and in the at once laborious and childish atmosphere of Paolo's studio, the chaos of the Battle of San Romano gradually takes shape in Antonio's eyes. In the forest of pikes and lances, in the tumult of weapons and horses, the order of that "sweet thing" that was perspective—or so they say—according to Paolo Uccello is revealed.
Conceived as the predella of a lost altarpiece, this tale with a double vanishing point brings together the speculations of a melancholic and whimsical genius, and the impatient imagination of a child apprentice.