The Art of the Venice Academy: Containing a Brief History of the Building and of Its Collection of Paintings, as Well as Descriptions and Criticisms of Many of the Principal Pictures and Their Artists

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G. Bell, 1905 - Museums - 359 pages
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Page 55 - Bellini, his sense of the value of colour shows a decided gain. From Bellini, too, he acquired something of grace, of repose, and of charm. The recent editors of Vasari say of Mantegna in discriminating phrase: " Mantegna's was a dual artistic personality; pushed a little further in one direction, his Judith of the Uffizi might form part of a Greek vase painting; pushed a little further in the opposite direction, his Gonzaghe nobles of the Mantuan Castello would become caricatures. Mantegna's is...
Page 184 - ... professed subject matter — whether in general disposition, in costume and accessory, or in attitude and effort of mind— there is frequently no trace at all. In fact, Paolo Veronese is preeminently a painter working pictorially, and in no wise amenable to a literary or rationalizing standard : you can neither exhibit nor vindicate his scenic apparatus by any transcription into words. He enjoys a sight much as Ariosto enjoys a story, and displays it in form and colour with a zest like that...
Page 103 - Bellini in depth of feeling, or loftiness of style, he unites in a very happy way the qualities of the great Bellini brothers. His drawing is often faulty ; his figures spindle-shanked, short-bodied, and sometimes cloven almost to the waist by their long legs; his faces are frequently homely, others of them are lacking in construction; but the charm of his work makes up for all, while the lightness of treatment of his sacred legends is qualified and ennobled by some of the clearest and most golden...
Page 85 - TT was in 1487," write Crowe and Cavalcaselle, "that Bellini produced the X beautiful ' Virgin and Child ' of the Venice Academy, in which we know not which to admire more, the noble gravity of the mother or the pulsation of life in the Child. Bellini certainly never so completely combined relief with transparence, or golden tinge of flesh with a rich harmony of tints. By dint of perseverance he had succeeded in losing all trace of hardness, and acquired what may be called the Giorgionesque touch.
Page 138 - Medieval ideal of terrestrial happiness, clear, complete at last (as is the wont of ideals) when the actuality, of which it was the enchanting refraction, was just about to fade into the past. Fair knights and lovely ladies, spurs of gold, jewelled brocade, crimson damasks, gorgeous trains on regal steeds ride under golden skies wherein bright suns flatter charmed mountain tops. All the faces are aglow with blitheness. Why are they so happy ? Have they waked from nightmare hauntings of Purgatory...
Page 333 - Dyck was born in Antwerp in 1599 and died in London in 1641.
Page 198 - As has been said, these Venetian beauties are seldom intellectual, nor do they often appear possessed of any great power of emotion. But they are always intensely feminine, and in their flowing silken robes with ropes of pearl about their white necks, softly gleaming stones on hair, breast, and fingers, they express fully and perfectly the opulence and the indolence of the aristocracy of the time which gave them birth.
Page 240 - My very illustrious lords, I had not taken such matters into consideration. I was far from imagining such irregularities. I paint with such study as is natural to me, and as my mind can comprehend.
Page 66 - Cima has not the largeness or breadth of shape in figures, nor the fibre of the colourist, which belong to Bellini. . . . What he lacks in grandeur is compensated by staid and dignified simplicity.
Page 87 - ... nose and small mouth, appears in the Madonna between Saints Catherine and Mary Magdalen (Venice Academy). There is also the same thin flat treatment of paint without impasto. The illumination and the colour scheme are peculiar, and appear to have been suggested by a lamplight effect. The way in which the local colours are all modulated to a single key of rich golden brown is an anticipation of Titian's art of arousing the sensation of colour by a varied monochrome. Here, for instance, so perfectly...

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