The History of Painting in Italy, Vol. 5 (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. 5 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
Lanzi, Luigi
Painting -- Italy -- History
Cignani's most distinguished pupils and heads of new schools were
Franceschini and Crespi. The Cav. Marcantonio Franceschini left the school
of Gio. Batista Galli for that of Cignani, and became his most effective
assistant and intimate friend. This friendship was cemented by his union
with Cignani's cousin, sister of Quaini, whom I shall shortly again
mention. Some productions of Franceschini might be taken for Cignani's
himself; but these were among his earliest, before he had formed his
characteristic manner. He remained with his friend many years, and
possessing peculiar gracefulness of design, Cignani availed himself of it
to draw from life the individual portions of his compositions, engaging him
to consult various models, in order to select the best forms from each. By
this study of nature, in which he persevered, and by copying from the
designs and under the eye of his master, he attained much of the taste, the
nice selectness, and the grandeur of Cignani. To these he added a certain
grace of colouring, and a facility which gave a novel character to his
productions; besides an originality, equal to any other artist, in the form
of his heads, in his attitudes, and in the costume of his figures. His
freshness, his harmony, his just equilibrium of full and retreating parts;
in short, his whole style presents a glowing spectacle never before seen.
If we trace in his works, especially on an extended scale, a degree of
mannerism, it may almost be excused: would that his disciples had
restrained themselves within the same limits! But easy roads to painting
are like walking on a declivity, where it is difficult to count one's
steps, or restrain one's motions. Franceschini seemed born to execute works
on a large scale, fertile in ideas, and with facility to dispose them in
every point of view, and to colour them at any distance. He was accustomed
to compose his cartoons in chiaroscuro, and, having fixed them in the
intended spot, to judge of the success of his proposed work; a method it
would be desirable to inculcate and adopt more generally.
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.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account