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Berenson and others have recognised in the "Portrait of a Gentleman," in the Querini-Stampalia Gallery in Venice, the same hand as in the National Gallery picture, one might well hesitate to claim it for Giorgione, so repainted is its present condition.
North American Review, October 1899. It was photographed by Braun with this attribution. Catena has adopted this Giorgionesque conception in his "Judith" in the Querini-Stampalia Gallery in Venice. See Gazette des Beaux Arts, 1897, tom, xviii. p. 279. Crowe and Cavalcaselle, ii. 147. ii. 217. Dr. Gronau points this out in Rep. xviii. 4, p. 284.
If this be Palma's work, it stands alone, not only far surpassing his usual productions in quality, but revealing him in a wholly new phase; it is a difference not of degree, but of kind. Querini-Stampalia Collection, Venice
All of them again show a family resemblance in this particular respect to the interesting full-length Judith at the Hermitage, now ascribed to Giorgione, to the over-painted half-length Judith in the Querini-Stampalia Collection at Venice, and to Hollar's print after a picture supposed by the engraver to give the portrait of Giorgione himself in the character of David, the slayer of Goliath.
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