The History of Painting in Italy: The schools of Naples, Venice, Lombardy, Mantua, Modena, Parma, Cremona, and Milan

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H.G. Bohn, 1847

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Сторінка 479 - Mengs has noticed before me that no artist could surpass Vinci in the grand effect of his chiaroscuro. He instructed his pupils to make as cautious a use of light as of a gem, not lavishing it too freely, but reserving it always for the best place. And hence we find in his, and in the best of his disciples...
Сторінка 95 - ... of the less skillful. Lanzi says that after Antonello returned to Venice from Flanders, he concealed the discovery from every one. except Domenico Veneziano. who is known to have availed himself of it for many years, both at Venice and elsewhere. During this period. Antonello visited other places, and' more especially Milan, whence he returned to Venice for the second time, and, as it is said, "received a public pension...
Сторінка 133 - Giorgio Barbarelli, of Castelfranco, more generally known by the name of Giorgione, from a certain grandeur conferred upon him by nature, no less of mind than form...
Сторінка 482 - ... variously affected ; one of them swoons away, one stands lost in astonishment, a third rises in indignation, while the very simplicity and candour depicted upon the countenance of a fourth, seem to place him beyond the reach of suspicion. But Judas instantly draws in his countenance, and while he appears as it were attempting to give it an air of innocence, the eye rests upon him in a moment as the undoubted traitor. Vinci himself used to observe, that for the space of a whole year, he employed...
Сторінка 480 - Leonardo succeeded in uniting minuteness and sublimity, these two opposite qualities, before any other artist. In subjects which he undertook fully to complete he was not satisfied with only perfecting the heads, counterfeiting the shining of the eyes, the pores of the skin, the roots of the hair, and even the beating of the arteries ; he likewise portrayed each separate garment and every accessory with minuteness.
Сторінка 124 - Treviso, in which the cupola, the columns, and the perspective, with the throne of the virgin seated with the infant Jesus, and surrounded by saints standing, the steps ornamented by a harping seraph, all discover Bellini's composition ; but I had not seen the work, until after the former edition of my history at Bassano.
Сторінка 439 - ... and sometimes of the same hand. This adds greatly to their harmony, and in consequence to their beauty, nothing in fact being truly beautiful that has not perfect unity. "As to Bernardino Campi, the church of S. Sigismondo inspires us with the loftiest ideas of his power. Nothing can be conceived more simply beautiful, and more consistent with the genius of the best age, than his picture of S. Cecilia playing upon the organ, while S. Catherine stands near her, and above them is a group of angels,...
Сторінка 531 - ... by the proximity. Lanzi says, "his style is solid and strong, his coloring forcible, and in his skill of foreshortening on ceilings, he yields to few artists of his time. Pasta, in his Guide to Bergamo, has deservedly praised him on this score when speaking of his Santa Grata, seen rising into heaven, a work, he observes, that is admirable and delightful.
Сторінка 498 - If we examine into further particulars of his style, we shall find Ferrari's warm and lively colouring so superior to that of the Milanese artists of his day, that we shall have no difficulty in recognizing it in the churches where he painted; the eye of the spectator is directly attracted towards it; his carnations are natural and varied according to his subjects; his draperies display much fancy and originality, with middle tints blended so skilfully as to...

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