Список литературы
1.Егорова К.С. Пейзаж в нидерландской живописи XV века. М.: Искусство, 1999. C. 71.
2.The Age of Van Eyck. The Mediterranean World and the Early Netherlandish Painting, 1430--1530 / ed. T.-H. Borchert. Ghent-Amsterdam: Thames and Hudson, 2002. P 280.
3.Der Anonimo Morelliano (Marcanton Michiel's “Notizia D'opere del disegno”) / Hrsg. T. Frimmel. Wien: Graese, 1896. S. 120.
4.Christiansen K. Bellini and the Meditational poesia // Artibus et historiae, 67 (2013). P. 9--20.
5.Fleming J. From Bonaventure to Bellini. An Essay in Franciscan Exegesis. Princeton: University Press, 1982. P. 192.
6.Fletcher J. The Provenance of Bellini's Frick “St. Francis'' // The Burlington Magazine, 114 (1972). P. 206--214.
7.Giovanni Bellini and the Art of Devotion / ed. R. Kasl. Indianapolis: University Press, 2004. P. 182.
8.GoffenR. Giovanni Bellini. New Haven and London: Yale University Press, 1994.
P. 382.
9.Grave J. Ein neuer Blick auf Giovanni Bellinis Darstellung des Heiligen Franzis- cus // Pantheon, 56 (1998). S. 35--43.
10.Hammond N. Bellini's Ass: A Note on the Frick's “St. Francis”// The Burlington Magazine, 144 (2002). P. 24--26.
11.Hammond N. Bellini's Bird: Avifauna in the Frick “St. Francis” // The Burlington Magazine, 149 (2007). P. 36--38.
12.JansonA.F. The Meaning of the Landscape in Bellini's “St. Francis in Ecstasy”// Artibus et historiae, 30 (1994). P 41--54.
13.Lavin M.A. The Joy of St Francis: Bellini's Panel in the Frick Collection // Artibus et historiae, 56 (2007). P. 231--256.
14.Meiss M. Giovanni Bellini's “St. Francis”// Saggi e memorie di storia dell'arte,
3.Venezia, 1963. P. 11--30.
15.Renaissance Venice and the North. Crosscurrents in the Time of Dьrer, Bellini and Titian / ed. B. Aikema, B.L. Brown. London: Thames and Hudson. 1999. P. 704.
16.Richard Turner A. The Vision of Landscape in Renaissance Italy. Princeton, New Jersey: Princeton University Press. 1966. P. 69--73.
17.Smart A. The “Speculum perfectionis” and Bellini's Frick “St. Francis” // Apollo, 135 (1973). P. 470--476.
References
художественный пейзаж стилистика
1.Yegorova K. Peysazh v niderlandsckoy zhivopisi XV veka. М.: Iskusstvo, 1999.
P 71.
2.The Age of Van Eyck. The Mediterranean World and the Early Netherlandish Painting, 1430-1530 / ed. T.-H. Borchert. Ghent-Amsterdam: Thames and Hudson, 2002. P. 280.
3.Der Anonimo Morelliano (Marcanton Michiel's “Notizia D'opere del disegno”) / Hrsg. T. Frimmel. Wien: Graese, 1896. S. 120.
4.Christiansen K. Bellini and the Meditational poesia // Artibus et historiae, 67 (2013). P. 9--20.
5.Fleming J. From Bonaventure to Bellini. An Essay in Franciscan Exegesis. Princeton: University Press, 1982. P. 192.
6.Fletcher J. The Provenance of Bellini's Frick “St. Francis'' // The Burlington Magazine, 114 (1972). P 206--214.
7.Giovanni Bellini and the Art of Devotion / ed. R. Kasl. Indianapolis: University Press, 2004. P 182.
8.Goffen R. Giovanni Bellini. New Haven and London: Yale University Press, 1994. P 382.
9.Grave J. Ein neuer Blick auf Giovanni Bellinis Darstellung des Heiligen Franzis- cus // Pantheon, 56 (1998). S. 35--43.
10.Hammond N. Bellini's Ass: A Note on the Frick's “St. Francis” // The Burlington Magazine, 144 (2002). P 24--26.
11.Hammond N. Bellini's Bird: Avifauna in the Frick “St. Francis” // The Burlington Magazine, 149 (2007). P 36--38.
12.Janson A.F. The Meaning of the Landscape in Bellini's “St. Francis in Ecstasy” // Artibus et historiae, 30 (1994). P 41--54.
13.Lavin M.A. The Joy of St Francis: Bellini's Panel in the Frick Collect ion//Arti- bus et historiae, 56 (2007). P 231--256.
14.MeissM. Giovanni Bellini's “St. Francis” // Saggi e memorie di storia dell'arte, 3. Venezia, 1963. P 11--30.
15.Renaissance Venice and the North. Crosscurrents in the Time of Dьrer, Bellini and Titian/Ed. B. Aikema, B.L. Brown. London: Thames and Hudson. 1999. P. 704.
16.Richard Turner A. The Vision of Landscape in Renaissance Italy. Princeton, New Jersey: Princeton University Press. 1966. P 69--73.
17.Smart A. The “Speculum perfectionis” and Bellini's Frick “St. Francis” // Apollo, 135 (1973). P 470--476.