The History of Painting in Italy: The schools of Bologna, Ferrara, Genoa, and Piedmont, with the indexesH. G. Bohn, 1847 - Painting |
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The History of Painting in Italy: The schools of Bologna, Ferrara, Genoa ... Luigi Antonio Lanzi No preview available - 1854 |
The History of Painting in Italy: The Schools of Rome and Naples Luigi Lanzi,Thomas Roscoe No preview available - 2018 |
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Popular passages
Page 29 - Some heads of the apostles were likewise sawed out and placed in the Vatican. His taste 'on the whole resembles that of Mantegna and the Padouan schools more than any other. The heads are well formed, well coloured, well turned, and almost always foreshortened ; the lights duly toned...
Page 173 - Venice. Bartsch (P. gr. torn, xxi.) has described 33 prints by him, many of which have his name in full, Marco San Martina. SANNI, DOMINGO MARIA, a Spanish painter who flourished in the 18th century. In the Madrid Museum there are two pictures by him, but the dates of his birth and death are unknown. SANO...
Page 146 - Fuoco, of which the cupola is the masterpiece of Carlo Cignani. " He spent the closing years of a long life at Forli, where he established his family, and left the proudest monument of his genius in that grand cupola, perhaps the most remarkable of all the pictorial productions of the eighteenth century. The subject is the Assumption of our Lady, the same as in the cathedral at Parma ; and here, too, as there, it exhibits such a real paradise, that the more we contemplate it, the more it delights...
Page 71 - La mossa coll' ombrar Veneziano, E il degno colorir di Lombardia ; Di Michelangiol la terribil via, II vero natural di Tiziano, Di...
Page 18 - Aurifex,' as if to imply that he belonged to the goldsmith's art, not to that of painting. Nevertheless, that work is a beautiful specimen, displaying the most finished delicacy of art in every figure and ornament, especially in the arabesque pilasters, in the Mantegna manner." — Lanzi. The lunette above, an "Ecce Homo,
Page 17 - I^anzi says his manner is nearly between those of Perugino and Bellini : '• It boasts the choiceness and the tone of color of Perugino, while in the fullness of its outlines, in the skill of the folding and the ample flow of the draperies, it bears greater resemblance to Bellini. His heads, however...
Page 94 - Raffaelle, Correggio, Parmiggiano, and from his beloved Paul Veronese, from all whom he selected innumerable beauties, but with such happy freedom of hand, as to excite the envy of the Caracci. And in truth, this artist aimed less at copying beautiful countenances, than at forming for himself a certain general and abstract idea of beauty, as we know was done by the Greeks, and this he modulated and animated in his own style.
Page 243 - These cabals were more strongly instanced in the chapel Centurioni, where he painted the Birth of St. John, in competition with Andrea Semini and Luca Cambiaso, who there also painted other pictures from the history of that saint. This work was one of his happiest efforts, and the most approaching to the style of his master ; but he could not crush the genius of Cambiaso, which after this occasion appeared more brilliant than his own ; whence the Prince Doria selected that artist to execute a very...
Page 276 - ... he executed for the churches at Genoa, but more by the excellence of his portraits. Lanzi highly extols his Decollation of St. John the Baptist, at Sestri di Ponente. He also says that he was particularly excellent in portraits, and that Genoa is full of his works in this branch. He was also invited to Parma and Piacenza, where he furnished the court with portraits, and executed some works for the churches. He was afterwards invited to Naples by King Charles of Bourbon, who appointed him his...
Page 51 - Ruta in his Guida, from its accurate imitation of the taste displayed in the original, of its conception and of its harmony, as to lead those unacquainted with the fact to suppose it to be the work of Allegri.