The history of painting in Italy, from the period of the revival of the fine arts to the end of the eighteenth century, Volume 4 (Google eBook)

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W. Simpkin and R. Marshall, 1828 - Painting
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Page 269 - ... with middle tints, blended so skilfully as to equal the most beautiful produced by any other artist. And if we may so say, he represented the minds even better than the forms of his subjects. He particularly studied this branch of the art, and we seldom observe more marked attitudes or more expressive countenances. Where he adds landscape or architecture to his figures, the former chiefly consists of very fanciful views of cliffs and rocks, which are calculated to charm by their novelty ; while...
Page 241 - 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.
Page 8 - ... which it has already survived. It is truly wonderful to behold carnations so delicate, coats of armor so glittering, draperies so finely varied, with ornamental fruits still so fresh and dewy to the eye. Each separate head might Serve as a school, from its fine character and vivacity, and not a few from imitation of the antique ; while the design, as well in its naked as in its clothed parts, expresses a softness which sufficiently repels the too general opinion, that the stiff style and that...
Page 244 - ... continues by saying that the impression of lack of finish is attributable to the artist's having left certain portions of his pictures less perfectly finished than others. This deficiency, he says, cannot be detected always by the best judges. "The portrait, for instance, of Mona Lisa Gioconda . . . was minutely examined by Mariette in the collection of the king of France, and was declared to be carried to so high a degree of finish that it was impossible to surpass...
Page 269 - If we examine into further particulars of his style, we shall find Ferrari's warm and lively colouring so superior to that of the Milanese artists of his day, that we shall have no difficulty in recognizing it in the churches where he painted; the eye of the spectator is directly attracted towards it; his carnations are natural and varied according to his subjects; his draperies display much fancy and originality, with middle tints blended so skilfully as to equal the most beautiful produced by any...
Page 124 - Raifaelle and Giulio Romano, and formed a style that was pronounced original, and which Lanzi says "is at once great, noble and dignified ; not abounding in figures, but rendering a few capable of filling a large canvass ; the prevailing character, however, in which he so greatly shone, was grace of manner, a grace which won for him at Rome the most flattering of eulogies, that " the spirit of Raffaelle had passed into Parmiggiano...
Page 155 - ... barbarous language to its perfection all at once ; a language left entirely to the people, and which had only a small part of its rust rubbed off by the immortal Dante.
Page 154 - ... wrought a great change in this respect. Lanzi himself, says he excelled in oil painting. Speaking of Christ descending into Limbo, in the sacristy del Sacramento, he says. " the figures are numerous, of somewhat long proportions, but colored with great softness and strength. His knowledge of the naked is beyond that of his age, combined with a grace of features and of attitudes, that conveys the idea of a great master.
Page 279 - He was celebrated for those capricci, or fancy pieces, which afterwards fell into disuse, and which at a distance appeared to be the figures of men and women ; but on a nearer view the Flora disappeared in a heap of flowers and leaves, and the Vertumnus was metamorphosed into a composition of fniits and foliage.

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