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Agony allegories already Alvise Vivarini Antonello atmosphere Bartolommeo Vivarini beautiful Bellini's early Bellini's feeling belong Bernardino Brera Castelfranco Madonna century charm Cima cinquecento art Classical art colour composition contours Correr Museum Crivelli Crowe and Cavalcaselle decorative delight Doge Donatello's drapery Ducal Palace earlier earliest emotions Eremitani evident executed expression Ferrara Florence folds Frari triptych Gentile Gentile Bellini Gentile's Giobbe altarpiece Giorgione Giorgione and Titian Giorgione's Giovanni Bellini Greek horse human I'redella idea impasto influence Italy Jacopo Bellini landscape later Ludwig Madonna and Child Madonna and Saints manner Mantegna mediaeval Milan modelled motive Murano National Gallery nature neo-pagan Padua Paduan artists pagan painted painter pathos peculiar perfect period Pesaro altarpiece pieta Pisanello pose predella probably putti realised religious rendering rich Rimini scuola sensuous shows Signor sketches Squarcione system of design tempera technique Titian tradition Transfiguration treatment Vasari Venetian art Venice Academy Virgin whole Zaccharia
Page 35 - Fry says of it that there is in it a " conscious attempt at a strange effect of light, this time of early dawn, the pale apricot glow in the sky indicating the exact moment when the white of the Virgin's head-dress becomes luminous, though the flesh is still in tone.
Page 40 - I'Ame by Guillaume de Guilleville. The railed-in space is the earthly paradise, where souls, represented as children, shake down fruits from a tree, the mystical tree of the Cantus Canticum. Saints Peter and Paul guard the door, while the hermit across the water indicates the life of asceticism and resistance of temptation (typified by the centaur), by which alone the probation of purgatory is lessened.
Page 47 - In all his versions of the Madonna and Child the exact shade and variety of the feeling are perfectly explicit, and almost always distinct ; and the richness of his invention is shown by the perfect harmony of the particular feeling expressed by the mother with the pose and expression of the Child. 1 See Crowe and Cavalcaselle, Life of Titian, vol. ip 174. The deduction made by them from the statement that it was finished
Page 33 - Giobbe altarpiece we find the first step towards that treatment of form as enveloped in atmosphere, which Bellini pursued with increasing success to the end of his life, and the perfection of which is one of the chief distinctions of cinquecento painting in Venice.
Page 34 - ... a black which is not the absence of colour but rather the quintessence of all rich colours so concentrated as to be invisible.
Page 30 - The horse in Italian art before this time was always the destrier ; this horse, peculiar for its small compact build, is not indeed the Arab horse, but it is the...
Page 25 - The subject in this form is derived by Giovanni from Jacopo ; but the changes introduced by the son are significant of his greater depth of feeling.
Page 24 - ... unrivalled power. Other pietas rise to one's mind in which the extravagance of grief is more acutely rendered ; others again, such as Giotto's deposition at Padua, where the whole cosmos seems rent with unutterable anguish ; but none in which the tenderness and intimacy of grief are so supremely rendered. The sorrow which Bellini has here conceived is divine only in its excess of humanity.