The History of Painting in Italy: The Florentine, Sienese, and Roman schoolsH.G. Bohn, 1847 |
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admired afterwards altar-pieces ancient Andrea Antonio appears Arezzo artists assisted Baglione Baldinucci Barocci Bartolommeo beautiful Bologna Bonarruoti Bottari cabinet Caracci Caravaggio cathedral celebrated chapel chiaroscuro church Cimabue Città di Castello collection colouring composition copied Cortona disciples Domenichino Domenico drapery ducal gallery elegant eminent employed engraving epoch esteemed excellent executed figures finished Florence Florentine Francesco fresco genius Giotto Giovanni Giulio grace Gubbio Guercino Guido honour imitated Italy Jacopo landscape less Lett letters lived Lorenzo Madonna manner Maratta Maria Masaccio master Mengs mentioned merit Michelangelo mosaic native place notice observed Orlandi ornamented painted painter palace pencil period perspective Perugia Perugino pieces Pietro Pietro Perugino Pisa portrait possession productions pupil Raffaello remain represented Roman school Rome saints scholar seen shew Siena Sienese specimens studied style talent taste tints tion tures Tuscany Urbino Vanni Vasari Vatican Venetian Venice Vinci Virgin writers
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Сторінка 384 - Even his silence is eloquent, and in every actor the smallest perceptible motion of the eyes, of the nostrils, of the mouth, and of the fingers, corresponds to the chief movements of every passion ; the most animated and vivid actions discover the violence of the passion that excites them ; and what is more.
Сторінка 142 - Anmerlc. p. 262. Consonant with this are the following remarks of Lanzi. " We may here observe that when Michael Angelo was so inclined, he could obtain distinction for those endowments in which others excelled. It is a vulgar error to suppose that he had no idea of grace and beauty ; the Eve of the Sistine Chapel turns to thank her Maker, on her creation, with an attitude so fine and lovely, that it would do honor to Raphael " History of Paintimj, (Roscods Trans.) i. 176. the Nile, grand and lonely,...
Сторінка 382 - Ma nelle sue parole riconosco « l'amore che mi porta ; e le dico che, per dipingere una bella, mi « bisogneria veder più belle; con questa condizione, che VS. si « trovasse meco a far scelta del meglio. Ma essendo carestia e di « buoni giudici e di belle donne, io mi servo di certa idea che
Сторінка 82 - ... eodem modo etiam istud exprimatur. Cum hoc oleo tere minium sive cenobrium super lapidem sine aqua, et cum pincello linies super ostia, vel tabulas, quas rubricare volueris, et ad solem siccabis. Deinde iterum linies, et rursum siccabis. Ad ultimum vero superlinies ei gluten quod vernition dicitur, quodque hoc modo conficitur.
Сторінка 126 - His mode of painting may be divided into two styles, — one abounding in shadow, which gives admirable brilliancy to the contrasting lights ; the other more quiet, and managed by merely having recourse to middle tints. In each, the grace of his design, the expression of the mental affections, and the delicacy of his pencil, have not yet been surpassed, or perhaps equalled. He appears, however, to have been more solicitous to advance his art than to multiply his pictures ; a...
Сторінка 383 - RAFF. 757 personified ; and love, fear, hope, and desire, anger, placability, humility, or pride, assume their places by turns, as the subject changes ; and while the spectator regards the countenances, the air, and the gestures of his figures, he forgets that they are the work of art, and is surprised to find his own feelings excited, and himself an actor in the scene before him. There is another delicacy of expression, and this is the gradation of the passions, by which every one perceives whether...
Сторінка 187 - Vasari is, moreover, the father of the history of painting, and has transmitted to us its most precious materials. Educated in the most auspicious era of the art, he has in some measure perpetuated the influence of the golden age. In...
Сторінка 95 - ... appear to look at and to desire to enter into conversation with the beholder. It still remained, however, to give ideal beauty to the figure, fulness to design, and harmony to colouring ; a true method to aerial perspective, variety to composition, and freedom to the pencil, which, on the whole, was still timid. Every circumstance conspired to this melioration of the art in Florence as well as in other places. The taste for magnificent edifices had revived throughout Italy. Many of the finest...
Сторінка 124 - ... hereditary patrimony, to which the national characteristic of minute correctness has greatly contributed ; and it may justly be observed, that this people has excelled others no less in the symmetrical delineation of the figure, than in purity of idiom. It may also boast of having produced a great many excellent painters in fresco ; an art so superior to that of painting in oil, that Bonarruoti looked on the latter as mere sport, when compared with the former, as it necessarily requires great...
Сторінка 150 - Rosso, and other truly eminent masters, whose modesty was equal to the confidence of innumerable artists of mediocrity, who frequently enjoyed at Rome much ill placed patronage. II Frate left there only two figures of St. Peter and St. Paul, in the Quirinal palace ; the St. Peter he left unfinished, and it received its last touches from the hand of Ratfaelle.