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academy adorned afterwards Agostino altar-piece Ambrogio ancient Andrea Antonio Antonio Campi appear artist Batista beautiful Bernardino boast Bologna Bramante Bramantino brother Camillo Campi Caracci Carlo cathedral celebrated century Cesare character chiaroscuro church colouring commended composition Coreggio Cremona Cremonese cupola disciples display distinguished drapery Duke employed EPOCH equal esteemed excellent executed exhibit father figures flourished Francesco fresco gallery Gaudenzio genius Giovanni Girolamo Giulio Giulio Campi Giulio Romano grace hand Holy honour imitation instructed Italy labours landscape less likewise Lodovico Lodovico Caracci Lomazzo Lombardy Madonna Malvasia manner Mantegna Mantua master mentioned merit Milan Milanese models Modena native place noble Novellara observed Orlandi ornamented painted painter palace Paolo Parma Parmigianino Pavia period perspective Piacenza picture pieces Pietro portraits possession Procaccini produced pupil Raffaello Reggio remains reputation Rome saints seen shew specimens studied style taste tion Tiraboschi Titian Vasari Venice Vinci Virgin Zaist
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 241 - Leonardo succeeded in uniting minuteness and sublimity, these two opposite qualities, before any other artist. 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 179 - Cecilia playing upon the organ, while S. Catherine stands near her, and above them is a group of angels, apparently engaged, with the two innocent virgins, in pouring forth strains worthy of Paradise. This painting, with its surrounding decoration of cherub figures, displays his mastery in grace. Still he appears to no less advantage in point of strength in his figures of the Prophets, grandly designed, for the same place ; although he seems more anxious to invest them with dignity of feature and...
Page 269 - ... equally bold and terrible where his subjects admitted them. " The warm and lively colouring of Ferrari is so superior to that of the Milanese artists of his day, that there is no difficulty in recognizing it in the churches where he painted ; the eye of the spectator is directly attracted towards it. 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 see more marked attitudes or more expressive countenances....
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 there is 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...
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 75 - ... shortly after the birth of Mohammed ; and of his descendants, no details appear to have been preserved. ANTELAMI, or ANTELMI, (Benedetto,) a sculptor who flourished at Parma in the latter part of the twelfth century. Lanzi says that he executed " a bassorelievo, representing the Crucifixion of our Lord, in the cathedral, which, though the production of a rude age, had nothing in sculpture equal to it, that I have been able to meet with, until the period of Giovanni Pisano.
Page 241 - While he bestowed his attention in this manner upon the minutis, he at the same time, as is observed by Mengs, led the way to a more enlarged and dignified style ; entered into the most abstruse inquiries as to the source and nature of expression, the most philosophical and elevated branch of the art; and smoothed the way, if I may be permitted to say so, for the appearance of Raffaello.
Page 124 - ... of Raffaelle 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 Parmis-g-iano.