The History of Painting in Italy: The schools of Naples, Venice, Lombardy, Mantua, Modena, Parma, Cremona, and MilanH. G. Bohn, 1853 |
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The History of Painting in Italy: The schools of Rome and Naples Luigi Antonio Lanzi Повний перегляд - 1828 |
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acquired admirably adorned afterwards altar-piece ancient Andrea Antonio appears artist Batista beautiful Bellini Bergamo boast Bologna Boschini Brescia Campi Caracci Carlo cathedral celebrated century chiaroscuro church colouring commended composition copies Correggio Cremona degree disciples displayed distinguished Domenico drapery employed engraved epoch equal esteemed excellent executed exhibited father figures flourished Francesco fresco gallery genius Giorgione Giovanni Girolamo Giulio Giuseppe grace hand honour imitation instructed Italy Jacopo labours landscape less likewise Lomazzo Lombardy Madonna manner Mantegna Mantua master mentioned merit Messina Milan Milanese Modena Naples native place noble observed Orlandi ornament Padua painted painter palace Palma Paolo Parma Parmigianino Paul Paul Veronese period Piacenza pieces Pietro portraits possession produced pupil Raffaello representing reputation resided Ridolfi Rome saints scholar seen specimens studied style talents taste Tintoretto tints tion Titian Trevigi Udine Vasari Venetian school Venice Verona Veronese Vicenza Vinci Virgin Zanetti
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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 153 - Girolamo, besides the works in which he aided his brother, executed small pictures, painted in fresco, and produced an altar-piece for the church of San Vito. He died young, but at what exact time does not appear. Ridolfi commends him highly for his spirited manner ; and another of the old writers, as we learn from Rinaldis, gives his opinion, that if he had flourished for a longer period, he would, perhaps, have proved no way inferior to the great Pordenone. (Lanzi, Stor. Pitt. iii. 80, 81, 82.
Сторінка 478 - 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 95 - During that 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 salary...
Сторінка 300 - ... and exact precision, the several parts that are comprehended in the shadowing ; owing to which art, his designs were eagerly sought after, and his works repeatedly engraved by Pitteri, by Pelli, and by Monaco, besides other prints that were executed in Germany and elsewhere. His method of coloring, however, diminished in a great measure the chief merit of his pictures. His shades have increased and changed, his lights sunk, and his tints become yellow, so that there remains an inharmonious and...
Сторінка 134 - ... such an effect in the distance. From that period he continued to ennoble his manner, rendering the contours more round and ample,, the fore-shortenings more new, the expression of the countenance more warm and lively, as well as the motions of his figures. His drapery, with all the other accessaries of the art became more select, the gradations of the different colours more soft and natural, and his chiaro-scuro more powerful and effective.
Сторінка 190 - ... figures, which seem to live and breathe, though the whole of them are not equally well studied, and a few are really careless and incorrect." Lomazzo also, speaking of his Choir of the Muses, in which he introduced the portraits of the president Sacco and his wife, for whom it was painted, says, " I may, without fear of temerity, observe that it is impossible to produce anything more perfectly graceful and pleasing, and more beautiful in point of coloring, among works in fresco.
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 300 - Guercino, he imitated his .strong contrasts of lights and shadows, and boldness of relief, with considerable success. Lanzi says it is supposed that he had long observed the effects of light applied to statues of wood and images in wax, and by this means he was enabled to draw with considerable judgment and exact precision, the several parts that are comprehended in the shadowing ; owing to which art, his designs were eagerly sought after, and his works repeatedly engraved by Pitteri, by Pelli, and...