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Updated: June 26, 2025
"Oh, what a beautiful thing this perspective is!" Uccello exclaimed, as he stood at his desk between midnight and dawn while his wife begged him to take some rest.
He undermined his constitution by breathing and handling corruption, and when his friends implored him to spare his health, he would answer, although unable to touch food for sickness, by paraphrasing the famous words of Paolo Uccello, and exclaiming from among his grisly and abominable properties, "Ah! how sweet a thing is not anatomy!"
Berenson, "that I could touch every figure, that it would yield a definite resistance ... that I could walk round it." There follow Paolo Uccello, whose work will be found in the Uffizi, and Andrea del Castagno, who painted the equestrian portrait of Niccolò da Tolentino in the Duomo, and the frescoes in S. Apollonia.
And although Paolo Uccello had tried his hand at this, and had done something, solving this difficulty to some extent, yet Masaccio, introducing many new methods, made foreshortenings from every point of view much better than any other who had lived up to that time.
Many were naturalists, delighting, like Gentile da Fabriano, in the delineation of field flowers and living creatures, or, like Piero di Cosimo, in the portrayal of things rare and curious. Gardens please their eyes, and birds and beasts and insects. Whole menageries and aviaries, for instance, were painted by Paolo Uccello.
Their work is therefore at the same time more archaic and more pedantic, judged by modern standards. It is difficult to imagine a style of painting less attractive than that of Paolo Uccello. Yet his fresco of the "Deluge" in the cloisters of S. Maria Novella, and his battlepieces one of which may be seen in the National Gallery taught nearly all that painters needed of perspective.
To him, too, he owed his masterpiece, the 'Femme en violet et en jaune', but the restless seeker did not adhere to that style. Italy and the Florentines next influenced him, just those the most opposed to Velasquez; the Pollajuoli, Andrea del Castagna, Paolo Uccello and Pier delta Francesca.
But more careful looking will show that his greatest qualities, so balanced and so clear in him, are shared though often masked by the ungainlinesses of hurried artistic growth by Pollaiolo, Baldovinetti, Pesellino, let alone Uccello, Castagno, and Masaccio; are, in a word, Tuscan, Florentine.
In the quadrangle of the cloister is a series of pictures by Paolo Uccello, who, by the introduction of linear perspective, of which he is esteemed the inventor, made a new epoch in art. In the "chapel of the Spaniards" is a famous collection of frescos by Giotto's scholars. A large, thoughtful, and attractive composition is called the Wisdom of the Church.
For instance, the fifteenth century movement that began with Masaccio, Uccello, and Castagno opened up a rich vein of rather inferior ore; whereas the school of Raffael was a blind alley. Cézanne discovered methods and forms which have revealed a vista of possibilities to the end of which no man can see; on the instrument that he invented thousands of artists yet unborn may play their own tunes.
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