Word: pisanello
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...through the film, as the moviegoer watches, there travels a troubling little ecstasy of recognition. The costumes, and even many of the scenic compositions, are copies from old masterpieces by Lippo Lippi, Pisanello, Carpaccio, Lorenzo. As the orchestra tunes up for the Capulets' ball, five little boys step up to sing, and suddenly are grouped, in lovely archaic rhythm, as a choir of cherubs in Raphael's style. Juliet, in the scene where she first sees Romeo, is dressed like Botticelli's Flora, and the lines of her head and neck might be a tracing from Veneziano...
...riot of clear colors. Scores of carved and painted ships furled their emblazoned sails at the city's steps. Indoors, Byzantine mosaics shattered the streaming white light into stabs of dandelion yellow, blood, emerald, and midnight blue. Paintings glistened with the burnished metals and translucent glazes evolved by Pisanello and Gentile da Fabriano...
...travel from the fourth floor to the ground, you will never be able to do great work." But few matters in the text are more impressive than de Tolnay's own paragraphs, packed with sound information, flecked with illumination, and free from crotchets. Characteristic is his discussion of Pisanello's place in history...
...Pisanello ... was perhaps the first great draftsman of Europe. . . . [He] tries to grasp man as a product of nature. . . . His new conception of nature ... is . . . immediately expressed in his drawings of animals, plants, trees, and landscapes. He looks with new eyes on the broad realm of creation and discovers in the pulpy flower or plant something zoömorphic, and in the animal something plantlike. He sees trees as tender, trembling creatures hovering in the soft air; landscape is for him no longer a mere background to man but a space filled with light...
Typical products of an age that set a premium on immortality and fame are Pisanello's medallion portraits of the great folk at the courts of Ferrara, Mantua, and Milan. Although small in scale, through the accuracy of modelling and characterization, they partake of the qualities of monumental works of art. One is apt to remember the sharp profile of Paleologus in the fantastic dress of Byzantium, the appropriately gentle likeness of Cecilia Gonzaga, and the strangely fascinating head of Leonello d'Este. We may see side by side the first proofs in lead and the later casts in bronze...