1916, ISBN: 9781234258177

Paperback. New. Paperback. This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publishe… Plus…

Paperback. New. Paperback. This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1916 edition. Excerpt: . . . out his commentary are, as a rule, appropriate. This one is odd. It will scarcely occur to any one to say, But why not Giorgione, why not Titian By 1500 Giorgione must have been independent of Bellini and painting after his own inspiration. As for Titian, there is no evidence that he frequented the studio of Giovanni Bellini. Moreover, there is no faintest trace in the earliest paintings of either to suggest that they conceivably could have thought and felt and worked in precisely this way. We thus have eliminated the probabilities that the masterpiece we now are considering was the invention and handiwork of an assistant in Bellinis studio. We must assume, on the contrary, that not only was it Bellinis conception, but that there must have been a version painted by his own hand; and for this reason. It enjoyed a quite unparalleled vogue, and of no other work by Bellini do we discover so many echoes. It is hard to believe that this would have been the case had it been less than an autograph masterpiece. It might conceivably be argued that the action of the Madonna and Child lent themselves to the introduction of a donor, thus furnishing an occasion for the perpetuation of the patrons own portrait in sacred places. We find, however, that the motive pleased on its own account, and that, as in the Stuttgart abbreviation of this work, the Blessed Virgins hand rests not on the head of a donor but on a book. I am inclined to go so far as to believe that this change may have been introduced in the studio, for we find several versions with this alteration. Another alteration still that may have issued from the studio is in the hood of the Madonna, which, as in the last-named picture, is without embroidery and without pearls. It may be of interest and. . . This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN.<

2012, ISBN: 9781234258177

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustra… Plus…

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1916 edition. Excerpt: ...out his commentary are, as a rule, appropriate. This one is odd. It will scarcely occur to any one to say, But why not Giorgione, why not Titian? By 1500 Giorgione must have been independent of Bellini and painting after his own inspiration. As for Titian, there is no evidence that he frequented the studio of Giovanni Bellini. Moreover, there is no faintest trace in the earliest paintings of either to suggest that they conceivably could have thought and felt and worked in precisely this way. We thus have eliminated the probabilities that the masterpiece we now are considering was the invention and handiwork of an assistant in Bellini's studio. We must assume, on the contrary, that not only was it Bellini's conception, but that there must have been a version painted by his own hand; and for this reason. It enjoyed a quite unparalleled vogue, and of no other work by Bellini do we discover so many echoes. It is hard to believe that this would have been the case had it been less than an autograph masterpiece. It might conceivably be argued that the action of the Madonna and Child lent themselves to the introduction of a donor, thus furnishing an occasion for the perpetuation of the patron's own portrait in sacred places. We find, however, that the motive pleased on its own account, and that, as in the Stuttgart abbreviation of this work, the Blessed Virgin's hand rests not on the head of a donor but on a book. I am inclined to go so far as to believe that this change may have been introduced in the studio, for we find several versions with this alteration. Another alteration still that may have issued from the studio is in the hood of the Madonna, which, as in the last-named picture, is without embroidery and without pearls. It may be of interest and... Weight:0.62 lbs, RareBooksClub.com, 6/28/2012 0:00:00<