United States or Caribbean Netherlands ? Vote for the TOP Country of the Week !
Morelli, with peculiar insight, protested against its being considered a very early work of Titian, basing his protest on the advanced nature of the landscape, which, he says, "must have been painted six or eight years later than the end of the fifteenth century."
But it was on Don Ambrogio Morelli that she fixed her gaze with painful intensity, reading the success or failure of the orator in her brother's countenance. "Ambrogio!" she entreated, when the argument had been presented and received with every sign of triumph that the sacredness of the place made decorous, "thou knowest that I have no understanding of the Latin was it unanswerable?"
It is by no means certain, all the same, that this question of influence imparted and submitted to can with advantage be argued with such absoluteness of statement as has been the rule up to the present time, both on the one side and the other. It should be remembered that we are dealing with three young painters of about the same age, working in the same art-centre, perhaps, even, for a time in the same studio issuing, at any rate, all three from the flank of Giovanni Bellini. In a situation like this, it is not only the preponderance of age two or three years at the most, one way or the other that is to be taken into account, but the preponderance of genius and the magic gift of influence. It is easy to understand how the complete renewal, brought about by Giorgione on the basis of Bellini's teaching and example, operated to revolutionise the art of his own generation. He threw open to art the gates of life in its mysterious complexity, in its fulness of sensuous yearning commingled with spiritual aspiration. Irresistible was the fascination exercised both by his art and his personality over his youthful contemporaries; more and more did the circle of his influence widen, until it might almost be said that the veteran Gian Bellino himself was brought within it. With Barbarelli, at any rate, there could be no question of light received back from painters of his own generation in exchange for that diffused around him; but with Titian and Palma the case was different. The germs of the Giorgionesque fell here in each case upon a fruitful soil, and in each case produced a vigorous plant of the same family, yet with all its Giorgionesque colour of a quite distinctive loveliness. Titian, we shall see, carried the style to its highest point of material development, and made of it in many ways a new thing. Palma, with all his love of beauty in colour and form, in nature as in man, had a less finely attuned artistic temperament than Giorgione, Titian, or Lotto. Morelli has called attention to that element of downright energy in his mountain nature which in a way counteracts the marked sensuousness of his art, save when he interprets the charms of the full-blown Venetian woman. The great Milanese critic attributes this to the Bergamasque origin of the artist, showing itself beneath Venetian training. Is it not possible that a little of this frank unquestioning sensuousness on the one hand, of this terre
Doctor Morelli, who is no mean critic in our poetry, and therefore may be presumed to be a better in his own language, has confirmed me in this opinion by his judgment, and thinks withal that he has often mistaken his master's sense. "Sorti pater aequus utrique." Pallas says it to Turnus just before they fight.
III. This picture was then at Burleigh House. See La Galleria Crespi, 1900. The Earlier Work of Titian p. 24. Portfolio, October 1897. Tizian, p. 16. Morelli, ii. 57, note. See antea, p. 71. With the exception of the right arm, which Titian has let fall, instead placing it behind the head of the sleeping goddess.
The standard of rebellion was raised at Monteforte by two officers named Morelli and Silvati, who had brought over a troop of cavalry from Nola, and by the priest Menechini. In all Neapolitan insurrections there was sure to be a priest; the Neapolitan Church, much though there is to be laid to its account, must be admitted to have frequently shown sympathy with the popular side.
I also met at Gorice a Count Coronini, who was known in learned circles as the author of some Latin treatises on diplomacy. Nobody read his books, but everybody agreed that he was a very learned man. I also met a young man named Morelli, who had written a history of the place and was on the point of publishing the first volume.
The original drawing by Titian for the subject of this fresco is to be found among those publicly exhibited at the École des Beaux Arts of Paris. It is in error given by Morelli as in the Malcolm Collection, and curiously enough M. Georges Lafenestre repeats this error in his Vie et Oeuvre du Titien.
They are also in black chalk, but very much rubbed, and consequently rather indistinct They represent four nude figures in different postures, which Morelli considers to be studies for part of the Orvieto frescoes, although I have failed to discover there anything which corresponds to them.
All modern critics are agreed that Morelli has here mistaken an old copy after Giorgione for an original, a mistake we may readily pardon in consideration of the successful identification he has made of these figures with the Shepherds, in the composition seen and described by the Anonimo in 1525 as the "Birth of Paris," by Giorgione.
Word Of The Day