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altar-piece amber varnish Antonello Antonello da Messina Antonio Pollaiuolo appears applied artist Bartolommeo beauty blue drapery brown chiaroscuro colour colourists cool tints Correggio cracks darker darks depth described Domenico Veneziano early effect essential oil example executed exhibit Eyck figure finished Flemish flesh tints Florence Florentine forms Fra Bartolommeo Francesco Frate fresco Gallery Giovanni glazing gradations green grey half-tints hatching imitation Italian Leonardo da Vinci less light and shade light ground linseed oil Lorenzo di Credi Louvre Madonna master Milan mode nature nut oil objects observed oil painters oil painting oil pictures oil varnish opaque Parma peculiar Perugia Perugino Portinari portions practice preparation preserved produced prominent qualities Raphael remarkable resin rich Rubens sandarac scumbling seen sfumato shadows solid sometimes style substance sufficient supposed surface tempera thick thin thinly tion Titian toned transparent Vasari vehicle Venetian vernice liquida warm warmth white varnish
Page 247 - But here the light on the Virgin and Child is white, chalky, and thin ; and the rest of the picture has somewhat the poverty of a copy. The group of shepherds indeed appear, in character and in the beauty of painting, inferior to the general run of Correggio's figures ; the man at the side is even coarse.
Page 36 - Wherever a picture was found possessing evidently superior brilliancy of colour, independent of what is produced by the painter's skill in colouring, that brilliancy is derived from the admixture of some resinous substance in the vehicle. If it does not yield on the application of spirit of turpentine and spirit of wine, separately or together...
Page 254 - is dead-coloured white, and black or ultra-marine in the shadows ; and over that is scumbled thinly and smooth a warmer tint — I believe caput mortuum. The lights are mellow, the shadows bluish, but mellow. The picture is painted on a panel in a broad, large manner, but finished like an enamel ; the shadows harmonize, and are lost in the ground.
Page 244 - Besides frescoes in various other churches, the public gallery has five pictures by Correggio, of which three are of quality sufficient to form each the attraction of any collection ; but the famous St. Jerome (or the Day) takes the lead : this, for force, richness, beauty, and expression, makes everything give way. Hundreds of copies have been made ; but all poor compared with the fearless glazings, the impasted bituminous shadows of this picture.