The History of Painting in Italy, Vol. 3 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century — John Shaqi
The History of Painting in Italy, Vol. 3 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth CenturyLanzi, Luigi
History
The History of Painting in Italy, Vol. 3 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
Lanzi, Luigi
Painting -- Italy -- History
dryness of Giovanni Bellini and the softness of Titian, pronounce it to
be a Palma, and this, more particularly, where they find countenances
well rounded and coloured, landscape exhibited with care, and roseate
hues in the drapery, occurring more frequently than any of a more
sanguine dye. In this way Palma is in the mouths of all, while other
artists, also very numerous, are mentioned only in proportion as they
have attached their own names to their productions. One of these,
resembling Palma and Lotto, but slightly known beyond the precincts of
Bergamo and some adjacent cities, is Giovanni Cariani, as to whom Vasari
is altogether silent. One of his pieces, representing our Saviour, along
with several saints, and dated 1514, I have myself seen at Milan, which
appears to have been altogether formed upon the model of Giorgione. If I
mistake not, it is a juvenile production, and when compared with some
others, which I saw at Bergamo, very indifferent in its forms. The most
excellent of any from his hand, is a Virgin, preserved at the Servi,
with a group of beatified spirits, a choir of angels, and other angels
at her feet, engaged in playing upon their harps in concert. It is an
exceedingly graceful production, delightfully ornamented with landscape
and figures in the distance; very tasteful in its tints, which are
blended in a manner equal to the most studied specimens of the two
artists of Bergamo, already mentioned; thus forming with them a
triumvirate, calculated to reflect honour upon any country. It has been
stated by Tassi, that the celebrated Zuccherelli never visited Bergamo,
without returning to admire the beauties of this picture, pronouncing it
one of the finest specimens of the art he had ever beheld, and the best
which that city had to boast. Cariani was also no less distinguished as
a portrait painter, as we gather from a piece belonging to the Counts
Albani, containing various portraits of that noble family; and which,
surrounded with specimens of the best colourists; would almost appear to
be the only one deserving of peculiar admiration.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account