The History of Painting in Italy, from the Period of the Revival of the Fine Arts to the End of the Eighteenth Century, Band 3W. Simpkin and R. Marshall, 1828 |
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abounding acquired admired adorning afterwards altar altar-piece ancient Antonio appears artist Bartolommeo Bassano Batista beautiful Bellini Bergamo boast Bologna Boschini Brescia celebrated character chiaroscuro church colouring commended composition contemporaries copies degree disciples displayed distinguished Domenico drapery employed engraved epoch equal esteemed excellent executed exhibited father figures flourished forms fresco Friuli genius Giorgione Giotto Giovanni Girolamo grace Guercino hand histories honour imitator inferior Italy Jacopo Jacopo Bellini labours landscape less likewise manner mannerists Marco master mentioned merit Milan Murano native place noble observed ornament Padua painted painter Palma Paolo Paul Veronese pencil period pieces Pietro Pordenone portraits possession preserved produced pupil Raffaello represented reputation resembling Ridolfi Rome Rovigo saints San Francesco Santa scholar Sebastiano seen Signor specimens Stefano studied style talents taste Tintoretto tints tion Titian Trevigi tures Udine Vasari Venetian School Venice Verona Vicenza Virgin Zanetti
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Seite 322 - Io mi son un che, quando Amore spira, noto, ed a quel modo Che detta dentro, vo significando. O frate, issa vegg...
Seite 42 - Domenico Veneziano, who is known to have availed himself of it for many years, both in Venice and elsewhere. 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,
Seite 367 - Veronese; the attitudes are more than usually natural, prompt, and varied, and the composition appears to have been managed with truth and with good sense. Although rapid in the handling, he did not abuse his celerity of hand, as so many artists have been known to do. His figures are accurately designed, and appear starting from the canvass, most frequently coloured with a very beautiful azure, in which they shine conspicuous over all. Such pieces as he conducted in fresco, still preserve the native...
Seite 359 - ... 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 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...
Seite 28 - Jacometto de Flor." A much nobler work is a Coronation of the Virgin, in the cathedral of Ceneda, extremely rich in figures, insomuch as to have deserved the name of the " Painting of Paradise,
Seite 132 - ... pictures embellished with fine portraits, with which he ornamented the castle of the city ; and still more so for several of his altar-pieces. Of these there is one at San Giorgio, representing the Redeemer, suffering under the cross, between various figures of cherubs, holding other instruments of his passion ; a piece that displays all the excellent maxims derived from his education. This artist may be pronounced the last of the great school, whose productions do credit to a good collection....
Seite 203 - One of the second kind may be seen in the Medicean Museum, a picture which represents an academy of music. By this method he seemed to confess the poverty of his imagination, though he derived from it a very remarkable advantage. By dint of continually repeating the same things, he brought them to the utmost point of perfection of which they were susceptible ; as we may gather from his picture of the Nativity of our Lord, placed at San Giuseppe, in Bassano, the master-piece not only of Jacopo, but...
Seite 187 - I may, without fear of temerity, observe, that it is impossible to produce any thing more perfectly graceful and pleasing, more beautiful in point of colouring, among works in fresco." (Trat. p. 598.) We next arrive at the name of Jacopo Robusti, the son of a Venetian dyer, and for this reason surnamed Tintoretto. He was pupil to Titian, who, jealous of his talents, soon banished him from his studio. He did not aspire, like the preceding artists, to the name of Titian's follower ; for he burned with...