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Updated: May 19, 2025
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
Manchester, almost alone among our great towns of the present day, has not only a musical, but a pictorial life of its own; its young artists dub themselves 'a school, study in Paris, and when they come home scout the Academy and its methods, and pine to set up a rival art-centre, skilled in all the methods of the Salon, in the murky north.
I do not know, and have not time to hunt up records. Manchester and Liverpool are rival cities. They have matched themselves one against the other, and the prize they are striving for is Which shall be the great art-centre of the North of England. The artistic rivalry of the two cities has become obvious of late years.
Those, on the other hand, who remain unsophisticated by overmuch art-culture will find them full of character in spite of not a little rudeness of execution, and will be surprised at coming across such works in a place so remote from any art-centre as Saas must have been at the time these chapels were made.
Whatever power had put it there, no power seemed strong enough to get it out again. It lay exposed in the window for weeks and never drew a crowd, nor caused a sensation of any kind! Not a word in the newspapers! London, the acknowledged art-centre of the world, calmly went its ways. The sole immediate result was that Priam changed his tobacconist, and the direction of his promenades.
"Munich is the greatest art-centre of the world, the true hub of the artistic universe," Mr.
The proverbial thriftiness of the German is apt to degenerate into stinginess when the object to be attained is of general rather than individual benefit; and though Munich claims a high place as an art-centre, it would take a long time to convince its citizens that three hundred millions of kreuzers are but as dust in the balance when weighed against the value to the world of Kaulbach.
Manchester, almost alone among our great towns of the present day, has not only a musical, but a pictorial life of its own; its young artists dub themselves 'a school, study in Paris, and when they come home scout the Academy and its methods, and pine to set up a rival art-centre, skilled in all the methods of the Salon, in the murky north.
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