The History of Painting in Italy: From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century, Том 1W. Simpkin and R. Marshall, 1828 |
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Сторінка ii
... observations are applicable to other branches of history , they are especially so to the history of painting . Its materials are found ready prepared , scattered through numerous memoirs of artists of every school which , from time to ...
... observations are applicable to other branches of history , they are especially so to the history of painting . Its materials are found ready prepared , scattered through numerous memoirs of artists of every school which , from time to ...
Сторінка xviii
... observe names of fresh artists , which I have either collected from ancient MSS . * and the correspon- dence of my ... observations on the origin of painting , and on its diffusion in * For the improvement of my latest edition , I am ...
... observe names of fresh artists , which I have either collected from ancient MSS . * and the correspon- dence of my ... observations on the origin of painting , and on its diffusion in * For the improvement of my latest edition , I am ...
Сторінка xx
... observation applies generally to other authors , as Bottari remarks in a note on Lettere Pit- toriche , tom . iv . p . 366. A similar objection is made to the Dictionary of P. Orlandi in another letter , tom . ii . p . 318 , where it is ...
... observation applies generally to other authors , as Bottari remarks in a note on Lettere Pit- toriche , tom . iv . p . 366. A similar objection is made to the Dictionary of P. Orlandi in another letter , tom . ii . p . 318 , where it is ...
Сторінка xxi
... observed that examples have a more powerful influence on the arts than any precepts can possess ; and this is ... observations are not of PREFACE . xxi.
... observed that examples have a more powerful influence on the arts than any precepts can possess ; and this is ... observations are not of PREFACE . xxi.
Сторінка xxii
... observations are not of importance to the artist alone , but have a reference also to other individuals . In the Roman school , during its second epoch , I perceive that the progress of the arts invariably depends on certain principles ...
... observations are not of importance to the artist alone , but have a reference also to other individuals . In the Roman school , during its second epoch , I perceive that the progress of the arts invariably depends on certain principles ...
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admired afterwards ancient Andrea Andrea del Sarto Antonio appears Arezzo artists assisted Baldinucci beautiful Bologna Bonarruoti Bottari cabinet Caracci cathedral celebrated century chapel chiaroscuro church Cigoli Cimabue collection colouring commended composition Cortona disciple Domenico drapery ducal gallery eminent employed engraving epoch excellent executed father figures finished Florence Florentine school Francesco fresco genius Giotto Giovanni grace Greeks Guercino Guido historian honour imitated invention Italian Italy Jacopo labours less Lett letters likewise lived Lorenzo Lucca Madonna manner Maria Masaccio master ment mentioned merit Michelangiolo mosaic native place noticed observed opinion ornamented painted painter palace period Pescia pieces Pietro Pietro Perugino Pisa Pistoia Pitti palace portrait possession produced pupil Raffaello Razzi remain represented Rome saints scholar seen shew Siena Sienese Sienese school specimens studied style surpassed taste tints tion tures Tuscany Vanni Vasari Venetian Venice Vinci Volterra writers
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Сторінка 85 - Si autem volueris ostia rubricare, tolle oleum lini, quod hoc modo compones. Accipe semen lini et exsicca illud in sartagine super ignem sine aqua. Deinde mitte in mortarium et contunde illud pila donee tenuissimus pulvis fiat, rursusque mittens illud in sartaginem, et infundens modicum aquae, sic calefacies fortiter.
Сторінка 450 - Mei. 1 am unacquainted with that of his master ; and P. della Valle, who saw several of his works, sometimes compares him to the Caracci, at others to Paul Veronese, and to Guercino, much as the eclectic philosophers adopt or change the maxims of the different schools. He commends him for the airs of his heads, and, as one of his best productions, alludes to a fresco in the Casa Bandinelli, with an Aurora in a ceiling, and with several other elegant figures and designs. Francesco di Cristofano Rustici,...
Сторінка 197 - Raffaello, but a painter of no celebrity. While still a youth, he ,was consigned to Pier di Cosimo, a practical colourist, but by no means skilled in drawing or in composition : hence the taste of Andrea in these arts was formed on the cartoons of Vinci and Bo•narruoti ; and, as many circumstances indicate, on the frescos of Masaccio and of Ghirlandaio, in which the subjects were more suited to his mild disposition.
Сторінка 438 - ... pictures of this artist, who died at Rome, with the reputation of an excellent sculptor. I likewise find at Bologna an Agostino Marcucci, of Siena, who is wholly unknown in that place, probably because he was the son of an emigrant. He was a disciple of the Caracci, till a schism arose in that school, when he ranged himself with the foremost adherents of Facini, the leader of the party, and they had the boldness to set up a new academy in opposition to that of the Caracci. He continued to reside...
Сторінка 453 - ... that is doubtless partly owing to changes wrought by time, from an injudicious mixture of colors, for the historian of the cathedral of Siena, in describing his Elijah under the Juniper Tree, in that edifice, commends the force of the coloring, and says it is juicy and natural. Lanzi further says that in private collections, where pictures are better preserved than in churches, we find very beautiful Madonnas by this artist ; and he mentions "a most exquisite Lucretia in the possession of the...
Сторінка 395 - ... equal in genius to Simon.e, he succeeded admirably in imitating his manner, and probably assisted him in many works ; and, aided by his designs, he produced pictures that might have passed for the works of the former, had he not inscribed them with his own name. When he wrought from his own designs, there is a manifest mediocrity in his invention and design, but he is still a good colorist. He sometimes painted in conjunction with Simone, as appears from a picture formerly in the church of S....
Сторінка 200 - Christ, which they think sustains itself more, and has a greater fulness of the veins, than is suitable to a dead body : but this is immaterial in a picture the other parts of which are designed, coloured, and composed, so as to excite astonishment. A Last Supper, if it were not confined to the cloisters of the monastery of S. Salvi, would, perhaps, be equally admired. The soldiers who besieged Florence in 1529, and destroyed the suburbs of the city, undoubtedly admired it : after demolishing the...
Сторінка 198 - Vasari, if he was erroneous in a circumstance relating to one who was his master, and which was written in Florence soon after the death of Andrea, while his scholars, his friends, and even his wife, were still living, an assertion, too, uncontradicted in the second edition, in which Vasari retracted so much of what he had affirmed in the first ? His improvement and his progress from one perfection in art to another was thus not sudden, as has happened to some other artists ; but was gradually acquired...