The History of Painting in Italy, from the Period of the Revival of the Fine Arts to the End of the Eighteenth CenturyW. Simpkin and R. Marshall, 1828 |
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Página 15
... Siena than any other . In the year 1321 we find Ugolino Orvietano , Gio . Bonini di Assisi , Lello Perugino , and F. Giacomo da Camerino , noticed by us in ano- ther place , all employed in painting in the Cathedral of Orvieto ...
... Siena than any other . In the year 1321 we find Ugolino Orvietano , Gio . Bonini di Assisi , Lello Perugino , and F. Giacomo da Camerino , noticed by us in ano- ther place , all employed in painting in the Cathedral of Orvieto ...
Página 33
... familiar footing with Raffaello , with whom he painted at Siena , he has emulated his grace in some of his figures , as in his picture of S. Lorenzo in the VOL . II . D church of the Francescani di Spello , in which there EPOCH I. 33.
... familiar footing with Raffaello , with whom he painted at Siena , he has emulated his grace in some of his figures , as in his picture of S. Lorenzo in the VOL . II . D church of the Francescani di Spello , in which there EPOCH I. 33.
Página 34
... Siena , in the magnificent sacristy of which we have already made mention . They consist of ten historical subjects , containing the most memorable passages in the life of Pius II . , and on the outside is an eleventh , which represents ...
... Siena , in the magnificent sacristy of which we have already made mention . They consist of ten historical subjects , containing the most memorable passages in the life of Pius II . , and on the outside is an eleventh , which represents ...
Página 35
... Siena , which now belongs to the noble family of Savini , some historical pieces are ascribed to him near those of Signorelli . They are described in the Lettere Senesi , and in the notes published at Siena to the fourth volume of ...
... Siena , which now belongs to the noble family of Savini , some historical pieces are ascribed to him near those of Signorelli . They are described in the Lettere Senesi , and in the notes published at Siena to the fourth volume of ...
Página 36
Luigi Lanzi. rity , is to be seen in S. Caterina da Siena in Rome ; the subject is the Resurrection of our Saviour . Of the other scholars of Perugino we have no distinct account ; but we find some notice of them in the life of their ...
Luigi Lanzi. rity , is to be seen in S. Caterina da Siena in Rome ; the subject is the Resurrection of our Saviour . Of the other scholars of Perugino we have no distinct account ; but we find some notice of them in the life of their ...
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The History of Painting in Italy, from the Period of the Revival ..., Volume 2 Luigi Lanzi Visualização integral - 1828 |
The History of Painting in Italy, from the Period of the Revival ..., Volume 2 Luigi Lanzi Visualização integral - 1828 |
The History of Painting in Italy, from the Period of the Revival ..., Volume 2 Luigi Lanzi Visualização integral - 1828 |
Palavras e frases frequentes
academy admiration afterwards Agostino altar-pieces ancient Andrea Antonello Antonio artists assisted Baglione Barocci Batista beautiful Bellori Bologna called Caracci Caravaggio celebrated chapel chiaroscuro church Città di Castello colouring composition copied Cortona death decoration died Domenichino Domenico drapery Duomo employed epoch esteemed excellent executed Federigo figures finished Florence Francesco fresco gallery genius Giordano Giovanni Giulio Giulio Romano Giuseppe grace Gubbio Guida Guido highly honour imitation instructed Italy landscape letter Macerata Madonna manner Maratta Maria master Mengs mentioned merit Messina Michelangiolo Naples native place Neapolitan noble notice observed Orlandi ornament painted painter palace Paolo particularly Pascoli pencil Perugia Perugino Pesaro Pietro Pietro Perugino Polidoro pontificate Pope portraits possessed Poussin Raffaello remained resided Roman School Rome Sacchi saint scholars seen Siena sotto in su studied style subjects talent taste tion Titian tures Urbino Vasari Vatican Venetian Venice Virgin
Passagens conhecidas
Página 92 - Even his silence is eloquent, and in every actor the smallest perceptible motion of the eyes, of the nostrils, of the mouth, and of the fingers, corresponds to the chief movements of every passion ; the most animated and vivid actions discover the violence of the passion that excites them ; and what is more.
Página 92 - RAFF. 757 personified ; and love, fear, hope, and desire, anger, placability, humility, or pride, assume their places by turns, as the subject changes ; and while the spectator regards the countenances, the air, and the gestures of his figures, he forgets that they are the work of art, and is surprised to find his own feelings excited, and himself an actor in the scene before him. There is another delicacy of expression, and this is the gradation of the passions, by which every one perceives whether...
Página 90 - VS mi scrive; ma nelle sue parole riconosco l'amore che mi porta; e le dico che per dipingere una bella, mi bisognerebbe veder più belle; con questa condizione, che VS si trovasse meco a far scelta del meglio: ma essendo carestia e di buoni giudici e di belle donne, io mi servo di certa idea che mi viene alla mente. Se questa ha in sé alcuna eccellenza d'arte, io non so: ben mi affatico di averla.
Página 397 - Stanzioni in another; and each of these artists, excited by emulation, rivaled, if he did not excel, Domenichino. Caracciolo was dead. Bellisario, from his great age, took no share in it, and was soon afterwards killed by a fall from a stage, which he had erected for the purpose of retouching some of his frescos. Nor did Spagnoletto experience a better fate; for, having seduced a young girl, and become insupportable even to himself from the general odium which he experienced, he embarked on board...
Página 198 - This was his usual manner ; and he appeared most highly pleased when he could load his pictures with rusty armour, broken vessels, shreds of old garments, and attenuated and wasted bodies. On this account some of his works were removed from the altars, and one in particular at the Scala, which represented the Death of the Virgin, in which was figured a corpse, hideously swelled. Few of his pictures are to be seen in Rome, and amongst them is the Madonna of Loreto, in the church of S.
Página 91 - ... not have conferred on him that praise which he afterwards received from Algarotti, Lazzarini. and Mengs. Leonardo was the first, as we shall see in the Milanese School, to lead the way to delic»cy of expression ; but that master, who painted so little, and with such labor, is not to be compared with Raffaello, who possessed the whole quality in its fullest extent. There is not a movement of...
Página 94 - His Madonnas enchant us, as Mengs observes, not because they possess the perfect lineaments of the Medicean Venus, or of the . celebrated daughter of Niobe ; but because the painter in their portraits, and in their expressive smiles, has personified modesty, maternal love, purity of mind, and, in a word, grace itself. Nor did he impress this quality on the countenance alone, but distributed it throughout the figure in its attitude, gesture, and action, and in the folds of the drapery, with a dexterity...
Página 98 - Raffaello added to the group the lame man restored to the use of his limbs, now easily recognised again by all the spectators. He stands before the apostles rejoicing in his restoration ; and raises his hands in transport towards his benefactors, while at his feet lie the crutches which had recently supported him, now cast away as useless. This had been sufficient for any other artist ; but Raffacllo.
Página 93 - If in this faculty be included all that is difficult philosophical, and sublime, who shall compete with him in the sovereignty of art ? Another quality which Raffaello possessed in an eminent degree was grace, a quality which may be said to confer an additional charm on beauty itself. Apelles, who was supremely endowed with it among the ancients, was so vain of the possession that he preferred it to every other attribute of »rt.