Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 23, 2025
That sense of the liberation of the spirit which Mr. Berenson is fond of adducing as the grandest attribute of the Space Composers, Raphael and the rest, may be discovered in Las Meninas, or in The Spinners, space overhead, with mystery superadded. The brumous North was the home of mysticism, of Gothic architecture. The note of tragic mystery was seldom sounded by the Italians.
Masolino, according to Mr. Berenson, was born in 1384, and died after 1423, while his pupil Masaccio was born in 1401, and died, one of the youngest of Florentine painters, in 1428. Here in the Brancacci Chapel it might seem difficult to decide what may be the work of Masolino and what of his pupil, and indeed Crowe and Cavalcaselle have denied that Masolino worked here at all.
Bernard Berenson was the first to trace, is to a marked extent under the paramount influence of Giovanni Bellini in such works as the altar-piece of S. Cristina near Treviso, the Madonna and Child with Saints in the Ellesmere collection, and the Madonna and Child with St. Peter Martyr in the Naples Gallery, while in the Marriage of St.
In the Venice Academy. Archivio, Anno VI., where reproductions of the two are given side by side, fasc. vi. p. 412. Two other repetitions exist, one at Stuttgart, the other in the collection of Sir William Farrer. Gentile died in 1507. Berenson: Venetian Painters, 3rd edition. Daily Telegraph, December 29th, 1899. Even the so-called Pseudo-Basaiti has been separated and successfully diagnosed.
The other picture included by Mr. Berenson in his list is the large canvas in the Venice Academy, with "The Storm calmed by S. Mark." According to this critic it is a late work, finished, in small part, by Paris Bordone. In my opinion, it would be far wiser to withhold definite judgment in a case where a picture has been so entirely repainted. Certainly, in its present state, it is impossible to recognise Giorgione's touch, whilst the glaring red tones of the flesh and the general smeariness of the whole render all enjoyment out of question. I am willing to admit that the conception may have been Giorgione's, although even then it would stand alone as evidence of an imagination almost Michelangelesque in its terribilit
Berenson, in his Venetian Painters, includes two other pictures in an extremely exclusive list of seventeen genuine Giorgiones. The question whether or no we are to accept the former of these pictures has its origin in a curious contradiction of Vasari, who, in the first edition of his Lives , names Giorgione as the painter, whilst in the second , he assigns the authorship to Titian.
But indeed one might think that, even with Morelli, Crowe, and Cavalcaselle, and Berenson against us, not to name others who have done much for the history of painting in Italy, we might still believe, not altogether without reason, that Giorgone had some part in the Concert, which, after all, passed as his altogether for two hundred and fifty years; was bought, indeed, as his in 1654, only seventy-eight years after Titian's death, by Cardinal Leopoldo de' Medici from Paolo del Sera, the Florentine collector in Venice.
On the same wall among the Venetians we find the much-disputed Al Fresco Concert, 1136, here ascribed to Giorgione, an ascription which has the support of Morelli and Berenson.
He was born at Florence in 1446; he died May 27, 1510; in 1515, according to Vasari. A study of him is by Emile Gebhart, late of the French Academy. It is erudite, although oddly enough it ignores the researches of Morelli and Berenson.
According to Berenson, no one has yet painted the perfect landscape because thus far only a certain few aspects have been expressed, but not all. There are, I think, certain qualities which are generally recognized as necessary to the perfect fulfillment of the artistic purpose of a work; which follow, indeed, from the very meaning of art.
Word Of The Day
Others Looking