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More and more, as the supreme artist matures, do we find him disdaining the showier and more evident forms of virtuosity. His colour is more and more marked in its luminous beauty by reticence and concentration, by the search after such a main colour-chord as shall not only be beautiful and satisfying in itself, but expressive of the motive which is at the root of the picture.
"In the depth, strength, and richness of the colour-chord, in the atmospheric spaciousness and charm of the landscape background, in the breadth of the draperies, it is already," says Mr. Claude Phillips, "Giorgionesque."
Compared with Titian it is as though his colour-chord sounded in seven sharps, whilst the former strikes the key of C natural. A full rich green frequently occurs, as in the Castelfranco "Madonna" and the Louvre picture, and a deep crimson, contrasting with pure white drapery, or with golden flesh-tints, is also characteristic.
To him is certainly due the general composition, with its superb lines, its beautiful curves, its majestic and dignified postures, its charming sunset background, to him is certainly due the splendid chiaroscuro and magic colour-chord; but it becomes a question whether some of the detail was not actually finished by Giorgione's pupil, Sebastiano del Piombo.
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