Handbook of Painting: The Italian Schools, Volumen2John Murray, 1867 - 100 páginas |
Otras ediciones - Ver todas
Términos y frases comunes
Academy Adoration altarpiece Andrea appears artist ascribed Bartolommeo beautiful Bellini belong Berlin Museum Bernardino Bologna Brera Cappella Caravaggio Carracci cartoon ceiling celebrated century Chapel character chiaroscuro church colouring composition copy Correggio dignified display distinguished Domenichino Domenico drapery drawing Duomo engravings excellent executed expression feeling figures Florentine Fra Bartolommeo Francesco Francis fresco Giorgione giov Giovanni Giulio Romano graceful grand Guercino Guido Reni hand head Holy Family imitation kneeling landscape later Leonardo da Vinci Lorenzo Louvre manner Mantegna Marc Antonio Marco Maria master Michael Angelo Milan Mosaics Naples Niccolò Niccolò Alunno noble original painted painter palace at Rome Palazzo Paolo Parmigianino Passavant Paul Paul Veronese peculiar period Perugino picture Pietro Pinturicchio Pitti Palace portraits Raphael Razzi representation represented Roman Rome saints Saviour scene scholars spectator Studj Gallery style subjects tapestries Tintoretto tion Titian Uffizj at Florence Urbino Vasari Vatican Venetian Venice Veronese Virgin youth
Pasajes populares
Página 306 - The prophets and sibyls in the triangular compartment of the curved portion of the ceiling are the largest figures in the whole work ; these, too, are among the most wonderful forms that modern art has called into life. They are all represented seated, employed with books or rolled manuscripts ; genii stand near or behind them. These mighty beings sit before us pensive, meditative, inquiring, or looking upwards with inspired countenances.
Página 306 - The upper half of the composition is in many parts heavy, notwithstanding the masterly boldness of the drawing ; confused, in spite of the separation of the principal and accessory groups ; capricious, notwithstanding a grand arrangement of the whole. But, granting for a moment that these defects exist, still this upper portion, as a whole, has a very impressive effect, and, at the great distance from which it is seen, some of the defects alluded to are less offensive to the eye. The lower half deserves...
Página 487 - Leonardo da Vinci), the terrible manner of Michael Angelo, Titian's truth and nature, the sovereign purity of Correggio's style and the just symmetry of...
Página 439 - In the centre sits the princess under a tree ; she looks with surprise and tenderness on the child, which is brought to her by one of her attendants : the squire or seneschal of the princess, with knights and ladies, stand around ; on one side two lovers are seated on the grass ; on the other are musicians and singers, pages with dogs. All the figures are in the Venetian costume ; the colouring is splendid, and the grace and harmony of the whole composition is even the more enchanting from the naivete...
Página 282 - One of you shall betray me,' have caused the liveliest emotion, .... The two groups to the left of Christ are full of impassioned excitement, the figures in the first turning to the Saviour, those in the second speaking to each other; horror, astonishment, suspicion, doubt, alternate in the various expressions. On the other hand, stillness, low whispers, indirect obgervation, are the prevailing expressions in the groups on the right.
Página 300 - They serve to support the architectural forms, to fill up and to connect the whole. They may be best described as the living and embodied genii of architecture. It required the united power of an architect, sculptor and painter to conceive a structural whole of so much grandeur, to design the decorative figures with the significant repose required by their sculpturesque character, and yet to preserve their subordination to the principal subjects, and to keep the latter in the proportions and relations...
Página 306 - ... (the upper part of the body being that of a woman) is twined around the stem; she bends down towards the guilty pair, who are in the act of plucking the forbidden fruit . The figures are nobly graceful, particularly that of Eve. Close to the serpent hovers the angel with the sword, ready to drive the fallen beings out of Paradise. In this double action, this union of two separate moments, there is something peculiarly poetic and significant : it is guilt and punishment in one picture. The sudden...
Página 282 - ... the development of an animated action, is here enlivened in the most varied manner, while a most naturally imagined connection reduces it to an harmonious whole. The figure of Christ forms the centre ; he sits in a tranquil attitude, a little apart from the others ; the disciples are ranged three and three together, and they form two separate groups on each side of the Saviour. These four groups in their general treatment indicate a certain correspondence of emotion and a harmony in movement,...
Página 283 - Christ are full of impassioned excitement, the figures in the first turning to the Saviour, those in the second speaking to each other ; horror, astonishment, suspicion, doubt, alternate in the various expressions : on the other hand, stillness, low whispers, indirect observation, are the prevailing expressions in the groups on the right. In the middle of the first group sits the betrayer, a cunning, sharp profile ; he looks up hastily to Christ, as if speaking the words, " Rabbi, is it I?" while,...
Página 282 - This mode of composition, which betrayed the earlier artists into a disagreeably stiff and monotonous representation, and seems so unfavourable to the development of an animated action, is here enlivened in the most varied manner, while a most naturally imagined connection reduces it to an harmonious whole. The figure of Christ forms the centre ; he sits in a tranquil attitude a little apart from the others ; the Disciples are arranged three and three together, and they form two separate groups on...