Palladio (1508-80) combined classical restraint with constant inventiveness. In this study, Professor Ackerman sets Palladio in the context of his age - the Humanist era of Michelangelo and Raphael, Titian and Veronese - and examines each of the villas, churches and palaces in turn and tries to penetrate to the heart of the Palladian miracle. Palladio's theoretical writings are important and illuminating, he suggests, yet they never do justice to the intense intuitive skills of "a magician of light and colour". Indeed, as the photographs in this book reveal, Palladio was "as sensual, as skilled in visual alchemy as any Venetian painter of his time", and his countless imitators have usually captured the details, but not the essence of his style. There are buildings all the way from Philadelphia to Leningrad which bear witness to Palladio's "permanent place in the making of architecture", yet he also deserves to be seen on his own terms.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
on my own.
评分因要查資料，重讀此小書。Ackerman寫Palladio時已經能從社會經濟史的角度去探討palladian 彆墅的諸成因。這是有趣的建築史視角。若是威尼斯貿易沒有走下坡路，糧食自足不成問題，就不會齣現16世紀中葉開始的造地運動。。。而點綴在諸多農場裏的Palladio業主們的宅子，正是這一時期，這一條件下的産物。包括住宅類型本身，甚至古典化的形成，都是對管理新莊園的一種補償。
评分Ackerman對Palladio是真愛啊，字裏行間的，挺多經典評價的。
评分on my own.
评分因要查資料，重讀此小書。Ackerman寫Palladio時已經能從社會經濟史的角度去探討palladian 彆墅的諸成因。這是有趣的建築史視角。若是威尼斯貿易沒有走下坡路，糧食自足不成問題，就不會齣現16世紀中葉開始的造地運動。。。而點綴在諸多農場裏的Palladio業主們的宅子，正是這一時期，這一條件下的産物。包括住宅類型本身，甚至古典化的形成，都是對管理新莊園的一種補償。
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