На главную Почта Поиск Каталог

Издательский отдел
Санкт-Петербургской
академии художеств

O.K. Pichugina

Ural State University of Architecture and Art named after N.S. Alferov
https://orcid.org/0000-0001-9781-2010

DOI: https://doi.org/10.62625/2782-1889.2026.77.77.004

COLOUR AND FORM IN ITALIAN PAINTING OF THE 13TH – 15TH CENTURIES

Abstract

The purpose of this publication is to define the fundamental methods of colouristic modeling of plastic form in Italian painting of the 13th–15th centuries. The historical development of concepts of light, colour, and form is examined within the framework of art historical categories, as well as the artistic practice that existed in Italy during this period. It is shown that concepts of colour, actively developing throughout the Middle Ages, were preceded by the affirmation of light as the principle that generates colour. The influence of Byzantine painting on the development of Italian art of the 13th–14th centuries is considered. Based on an analysis of the form construction of works by Giotto, Bernardo Daddi, Bartolomeo Bulgarini, Ugolino di Nerio, Niccolò di Buanaccorso, and Fra Angelico, the development of methods of highlighting and cangiante, which developed in the 13th–early 15th centuries, is considered. The article presents the results of a study of the layered structure and form-building techniques of the icon “Madonna and Child” from the collection of the Yekaterinburg Museum of Fine Arts, attributed to a master of the Cione family, who worked in Florence at the turn of the 14th and 15th centuries. The influence of Alberti’s theory on the painting practices of Italian masters of the last third of the 15th century is examined. The transition to oil binders, which ensured balanced color schemes both in tone and colour in the work of Antonello da Messina, is noted. Information on Leonardo da Vinci’s portrait of Ginerva Benci is presented, revealing the characteristics of the sfumato method developed by the artist. As a result, five methods of constructing plastic form with color are identified, formed at different stages of the development of Italian painting of the 13th – 15th centuries: the method of highlighting, cangiante, tonal, sfumato and chiaroscuro, which had a decisive influence on the development of art and were the product of theoretical developments of ideas about light, colour and form in the Italian artistic culture of the Proto-Renaissance and Early Renaissance.

Keywords

colour; light; colour palette; plastic form; pigments; Italy; Proto-Renaissance; Renaissance;

References

  1. Данилов А. В. Богословский синтез философии у Бонавентуры (1221–1274). Часть I. Опубл. в: Теологический вестник Смоленской духовной семинарии. 2025. № 1. С. 127–153 // КиберЛенинка. URL: https://cyberleninka.ru/article/n/bogoslovskiy-sintez-filosofii-u-bonaventury-1221-1274-chast-1/viewer (дата обращения: 14.09.2025).;
  2. Очеретяный К. А. Цвет как форма власти: к социологии графического пользовательского интерфейса // Социология науки и технологий, 2023. Т. 14. № 4. С. 154–167. DOI: 10.24412/2079-0910-2023-4-153-169 ; EDN: VGTAKQ;
  3. Пастуро М. Символическая история европейского средневековья. СПб. : Александрия, 2012. 448 с. ISBN: 978-5-903445-21-9 ; EDN: QPVTAN;
  4. Пичугина О. К. Мадонна с Младенцем мастерской Якопо ди Чионе // Экспертиза и атрибуция произведений изобразительного и декоративно-прикладного искусства : мат-лы XV науч. конф. 25 ноября – 27 ноября 2009 г., Гос. Третьяковская галерея, Москва / под ред. Л. И. Иовлевой, А. Г. Тымовского, И. Е. Ломизе, А. И. Косолапова. М. : Объединение Магнум Арс. 2014. С. 80–85.;
  5. Рабинович В. Л. Алхимия. СПб. : Изд-во Ивана Лимбаха, 2012. 704 с.;
  6. Серов Н. В. Цвет культуры: психология, культурология, физиология. Хроматические основы религиозности. СПб : Речь. 2004. 672 c. ISBN: 5-9268-0252-0 ; EDN: HYSOZQ;
  7. Ченнини Ч. Книга об искусстве, или Трактат о живописи / ред. А. Рыбникова ; пер. с ит. А. Лужецкой. М. : ОГИЗ–ИЗОГИЗ, 1933. 140 с.;
  8. Alberti L. Della pittura e della statua / a cura di Giusti Ferrario. Milano : Sosietatipografica de'classici italiani, 1804. 180 p. // Фонд Викимедия. URL: https://upload.wikimedia.org/wikipedia/commons/d/d9/Alberti_-_Della_pittura_e_della_statua%2C_1804.pdf (дата обращения: 06.12.2023).;
  9. Barbera G. The Life and Work of Antonello da Messina // Antonello da Messina: Sicily's Renaissance Master. Metropolitan Museum of Art. Cambridge : Cambridge University Press, 2005. P. 16–30.;
  10. Berrie B., Delaney J., Dooley K., Glinsman L. Leonardo da Vinci's Ginevra de Benci: Technical Findings in Light of the Artists Notes on Painting // International Symposium Leonardo and His Circle: Painting technique in the Light of Restirations and scientific studies / ed. by A. Scamellotti fnd B.G. Brunetti. Rome : Bardi Edizione, 2023. P. 267–293.;
  11. Bomford B. The History of Colour in Art // Color: Art and Science / ed. by Trevor Lamb and Janine Bourriau. Cambridge : Cambridge University Press, 1995. P. 18–38. 237 p.;
  12. Christiansen K. Antonella da Messina // The MET. URL: https://www.metmuseum.org/ru/essays/antonello-da-messina-ca-1430-1479 (дата обращения: 23.02.2025).;
  13. Delaney J. K., Dooley K. A., Glinsman L. D., Ricciardi P. and Berrie B. H. Leonardo da Vinci's Ginevra de' Benci: The palette and further observations on underdrawing and undermodeling // Technè [Online] (accessed: 15.09.2025). DOI: 10.4000/11v44 ; EDN: WURMQF;
  14. Dunkerton J. Leonardo in Verrocchio's Workshop: Re-examining the Technical Evidence // National Gallery Technical Bulletin, 2011, Vol. 32. P. 4–30.;
  15. Grosseteste Robert. Die Philosophischen Werke des Robert Grosseteste, Bischofs von Lincoln / zum erstenmal vollstandig in kritisher Ausgabe besorgt von Dr. Ludwig Baur, Professor an der Universität Tübingen. Münster I.W. : Aschendorffsche Verlagsbuchhandlung, 1912. 778 S.;
  16. Koch Dandolo C.L., Piccolo M., Cucci C. Fra Angelico's painting technique revealed by terahertz time-domain imaging (THz-TDI) // Science for Conservation and Restoration of Cultural Heritage, 2016. DOI: 10.1007/s00339-016-0396-x (дата обращения 17.01.2025) EDN: XTLBWD.;
  17. Nelson R. S. Byzantine Art vs Western Medieval Art // OpenEdition Books. URL: https://books.openedition.org/psorbonne/1872 (accessed: 01.03.2022).;
  18. Ranquet O., Duce C. A holistic view on the role of egg yolk in Old Masters oil paintings. 2023 ; DOI: 10.1038/s41467-023-36859-5 EDN: ZFEVMM;
  19. Theophilus. An Essay upon Various Arts, in three Books by Theophilus, called also Rugerus, Priest and Monk forming an Encyclopedia of Christian Art of the Eleventh Century / translated with Notes, by Robert Hendie. London : John Murray. 1847. 536 p. URL: https://archive.org/details/theophiliquietru00theo/page/n57/mode/2up (accessed: 08.02.2024).;
  20. Tyler Ch. W. Darkness and Depth in Early Renaissance Painting. DOI: 10.1117/12.846851 (accessed: 23.07.2024);
  21. Vasari G. The Lives of the Artists / a new translation by J. Conaway Bondanella and P. Bondanella. Oxford : Oxford University Press. 1991. 624 p.;
  22. Zöllner F. Leonardo da Vinci.1452-1519. The Complete Paintings and Drawings. Köln : Taschen. 2025. 794 S.;

► Language

Русский

НАУЧНЫЕ ТРУДЫ
Санкт-Петербургской
академии художеств


77

When citing an article, use a bibliographic reference:
COLOUR AND FORM IN ITALIAN PAINTING OF THE 13TH – 15TH CENTURIES // . СПб. : СПб. акад. художеств, 2026. с. C. . https://doi.org/10.62625/2782-1889.2026.77.77.004


PDF

JATS

This article is licensed under Creative Commons «Attribution 4.0 International»

 

Дизайн и верстка: ©Издательский отдел Санкт-Петербургской академии художеств