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Updated: June 17, 2025
We come now to one of the most popular of all Titian's great canvases based on a sacred subject, the Presentation in the Temple in the Accademia delle Belle Arti at Venice. This, as Vasari expressly states, was painted for the Scuola di S. Maria della Carit
More practical, may we not say, than this imitation of the Florentine arti of the Middle Ages was the Working Men's College, founded in London in the fifties by that other earnest Christian Socialist, F.D. Maurice, in which Ruskin lectured gratuitously, took charge of the drawing classes, and hied off to the country with its members to sketch from nature and otherwise instruct and entertain them.
There's something a little like Trilby about her; she does seem to be singing under enchantment. What she really is like, though, is a lantern-jawed young Botticelli Madonna. She's lost a goodish bit of flesh, I should say, and her color's not so high, and she might easily have walked out of one of the canvases in the Pitti or the Ufizzi, or the Belli Arti.
I wonder when an Italian artist will condescend to pluck these flowers of beauty, so abundantly offered by the simplest things in his own native land. Each city has an Accademia delle Belle Arti, and there is no lack of students. But the painters, having learned their trade, make copies ten times distant from the truth of famous masterpieces for the American market.
Joshua Reynolds, when he visited the Frari in 1752, says that "he saw it near; it was most terribly dark but nobly painted." Now, in the Accademia delle Belle Arti, it shines forth again, not indeed uninjured, but sufficiently restored to its pristine beauty to vindicate its place as one of the greatest productions of Italian art at its highest.
So they went again and again to the Accademia delle Belle Arti and studied those quaint, half-Byzantine works, full of pathetic grace, by Guido da Siena, by Duccio, Simone Martini, Lippo Memmi, and the Lorenzetti brothers. Here, too, they found paintings by Il Sodoma, a High Renaissance artist, which pleased them more than all else.
The former strove to exclude the Medici from the government. The number of the Arti varied at different times. Varchi treats of them as finally consisting of seven maggiori and fourteen minori. Proemio to Storia Fiorentina.
She thought she would surely know when Lucile Sherman should come to Venice, as she would do soon. At length Mr. Sumner suggested that they begin to study Venetian painting, and that, for it, they should first visit the Accademia delle Belle Arti. He advised them to read what they could about early Venetian painting.
They were not in the least like the Correggios and the Guidos, the Lawrences and the Opies, that the men of that time had formed their taste upon, and accepted as their sole artistic standards. To people brought up upon pure David and Thorvaldsen, the Primavera at the Belle Arti must naturally have seemed like a wild freak of madness.
The cartoons of these pictures are now in the Belle Arti of Florence; they are grand and majestic figures, admirably draped. S. Peter holds his keys and a book; S. Paul rests on his sword. In executing them in colour, he made some improvements, especially in the head and hand of S. Peter, but he did not remain long enough in Rome to finish them.
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