The History of Painting in Italy: The schools of Bologna, Ferrara, Genoa, and Piedmont

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W. Simpkin and R. Marshall, 1828
 

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Seite 425 - ... he executed for the churches at Genoa, but more by the excellence of his portraits. Lanzi highly extols his Decollation of St. John the Baptist, at Sestri di Ponente. He also says that he was particularly excellent in portraits, and that Genoa is full of his works in this branch. He was also invited to Parma and Piacenza, where he furnished the court with portraits, and executed some works for the churches. He was afterwards invited to Naples by King Charles of Bourbon, who appointed him his...
Seite 224 - Fuoco, of which the cupola is the masterpiece of Carlo Cignani. " He spent the closing years of a long life at Forli, where he established his family, and left the proudest monument of his genius in that grand cupola, perhaps the most remarkable of all the pictorial productions of the eighteenth century. The subject is the Assumption of our Lady, the same as in the cathedral at Parma ; and here, too, as there, it exhibits such a real paradise, that the more we contemplate it, the more it delights...
Seite 394 - GIOVANNI, a Flemish painter, born at Antwerp in 1591. According to Soprani, he. went early to Rome, and acquired great reputation for his exquisite paintings of landscapes and animals Lanzi says he studied at Rome, and was a happ;y imitator of nature in her most agreeable forms, especially animals. " Many artists of this period attached themselves to the painting of animals. Castiglione distinguished himself in this line ^ but he resided for the most part of his time in another country. Giovanni...
Seite 144 - Raffaelle, Correggio, Parmiggiano, and from his beloved Paul Veronese, from all whom he selected innumerable beauties, but with such happy freedom of hand, as to excite the envy of the Caracci. And in truth, this artist aimed less at copying beautiful countenances, than at forming for himself a certain general and abstract idea of beauty, as we know was done by the Greeks, and this he modulated and animated in his own style.
Seite 382 - Castello more diligence, deeper knowledge, a better colour, a colour nearer allied to the Venetian than the Roman school. It may however be supposed, that in such fraternal harmony each assisted the other, even in those places where they acted as competitors, where each claimed his work, and distinguished it by his name. Thus at the Nunziata di Portoria, Luca on the pannels represented the final doom of the blessed and the rejected in the last judgment; whilst G.
Seite 43 - Some heads of the apostles were likewise sawed out and placed in the Vatican. His taste 'on the whole resembles that of Mantegna and the Padouan schools more than any other. The heads are well formed, well coloured, well turned, and almost always foreshortened ; the lights duly toned and opportunely...
Seite 75 - Cesare Aretusi, a son, perhaps, of Pellegrino Munari.J was distinguished as a colourist in the Venetian taste, but in point of invention weak and dull ; while Gio. Batista Fiorini, on the other hand, was full of fine conceptions but worthless in his colouring. Friendship, that introduces community in the possessions of friends, here achieved what is narrated in the Greek anthology of two * In the original the term used for these cotton merchants is bambagiai.
Seite 26 - ... and ample flow of the draperies, it bears greater resemblance to Bellini. His heads, however, do not equal the grace and sweetness of the former ; though he is more dignified and varied than the latter. In the accessories of his landscapes he rivals both ; but in landscape itself, and in the splendor of his architecture, he is inferior to them.

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