A History of Painting in North Italy: Venice, Padua, Vicenza, Verona, Ferrara, Milan, Friuli, Brescia, from the Fourteenth to the Sixteenth Century ...

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J. Murray, 1871 - Painting
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Page 151 - ... Savoldo. Even the striking composition of the ' Three Patron Saints of Venice Exorcising the Demons of the Storm,' to the grand poetical conception and feeling of which Messrs. Crowe and Cavalcaselle do but scant justice, is said never to have been ' touched by Giorgione, or if it was, to have undergone such complete transformation as to appear, in part at least, by Paris Bordone.
Page 520 - There is hardly a masterpiece of this time more deserving of praise than this half-length for warmth and fluid touch, for transparence of color, and freedom of handling.
Page 481 - These three young women are grouped with pleasing variety and artifice in front of a very pretty landscape. There is hardly a single peculiarity in the master remaining unrepresented; his melting shapes, his fair, almost waxen, complexions, his fine chiselled features, small hands, brocades and slashes, his draperies without depth, flow, or winding contour* (Crowe and Cavalcaselle).
Page 145 - ... his viol and assents. To the left a younger man in long hair and plumed hat gives token of pleasure and acquiescence. The motive, thought and purpose of the story are concentrated on the player at the harpsichord ; on him the light is thrown — a clear, sparkling but subdued light, such as we see within the walls of Italian palaces. His hood and cowl are black, his frock a shade of black ; and the delicate opal of his aristocratic but muscular hand is relieved on a furred sleeve interposed to...
Page 458 - Giorgione's, but is striking for its "brio;" there is, perhaps, no painter who dazzles more by his light than Palma. In contrast with pearly skin, especially of women, the clear and varied vestment tints, deadened by juxtaposition, are full of sparkle. Solid, oily impast blended with excessive care and purity is brought to a gay transparence in flesh by opal grays forming the transition to shadow. The general preparation, remodeled at a second painting by half-bodied scumbles, is finished with the...
Page 404 - Raphaelesquc and Palmesque is the kneeling knight at the Belvedere of Vienna protected by a richly dressed damsel with the unicorn at her side as emblem of chastity. Majestic beauty dwells in her face, and melody of silvery colours combines with soft and highly blended modelling to produce an impression of great freshness and brilliancy.2 A most winning example of simple incident is the votive altarpiece of 1539 executed for Galeazzo Rovelli in Santa Maria de
Page 467 - Possibly Rio, who studied with a truly devout application the spirit of Christian art in its various periods and schools, would come nearer to a solution of the question. This true critic fails not to discern the predilection of the Venetian artists, and consequently of their patrons, for...
Page 458 - ... pearly skin, especially of women, the clear and varied vestment tints, deadened by juxtaposition, are full of sparkle. Solid, oily impast blended with excessive care and purity is brought to a gay transparence in flesh by opal grays forming the transition to shadow. The general preparation, remodeled at a second painting by half-bodied scumbles, is finished with the very slightest veil of glazes, the whole surface acquiring at last a warm, clear, golden polish. We can always detect the Palmesque...

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