The History of Painting in Italy, from the Period of the Revival of the Fine Arts to the End of the Eighteenth Century, Volumen 2

W. Simpkin and R. Marshall, 1828

Comentarios de usuarios - Escribir una reseña

No hemos encontrado ninguna reseña en los sitios habituales.

Páginas seleccionadas

Otras ediciones - Ver todo

Términos y frases comunes

Pasajes populares

Página 94 - 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 94 - 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 92 - 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 399 - 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 200 - 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 93 - ... 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 96 - 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 100 - 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 95 - 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.

Información bibliográfica