United States or Turkey ? Vote for the TOP Country of the Week !
Federigo Baroccio, of Urbino, born in 1528, died in 1612, was also a follower of Correggio's, and made a stand against the decline of art in his day. He was tender and idyllic, though apt in his turn to be affected and sentimental. When painting in the Vatican, Rome, his rivals sought to take his life by poison.
He only notices that one of Correggio's figures resembles a young lady in Portland. Longfellow would seem to have been always the same in regard to his appreciation of art. When he was in Italy, in 1869, he visited all the picture galleries and evidently enjoyed doing so; but it was easy to see that his brother, Rev.
They had massed all the tapers in the center and formed a ring about the spectacle, sitting with their legs straight out before them and their toes turned up. The light shone full in their happy faces, and made the group, enveloped otherwise in darkness, like one of Correggio's pictures of children or angels.
A curious story has recently been published to the effect that in 1767 this artist sent word to Duke Xavier of Saxony that during the Seven Years' War she painted a copy in miniature of Correggio's "Holy Mother with the Christ Child, Mary Magdalen, Hieronymus, and Two Angels," which she sent by Cardinal Albani to the Duke's father Frederick Augustus II. of Saxony and Augustus III. of Poland at Warsaw.
The matchless beauty of the Virgin and Child, the group of angels overhead, the daybreak in the sky, and the whole arrangement of light and shadow, give it a right to be considered, in conception at least, the greatest of his works." I said before that light and shadow were Correggio's gods that the great purpose for which he lived, moved, and had his being, was to show up light and shadow.
The picture was an offering to the Virgin, after the cessation of a pestilence at Venice, and consecrated in a church of the Franciscans dedicated to St. Nicholas. Another celebrated votive picture against pestilence is Correggio's "Madonna di San Sebastiano." Sebastian and St. Roch, the latter asleep. Sebastian, bound, looks up on the other side. The introduction of St.
Titian's lovely mortal here may rank as a piece of flesh with Correggio's dazzling Antiope in the Louvre, but not with Giorgione's Venus or Titian's own Antiope, in which a certain feminine dignity spiritualises and shields from scorn beauty unveiled and otherwise defenceless.
In the crib lay a child, a year old, the nurse affirmed, but to Lethbury's eye a mere dateless fragment of humanity projected against a background of conjecture. Over this anonymous particle of life Mrs. Lethbury leaned, such ecstasy reflected in her face as strikes up, in Correggio's Night-piece, from the child's body to the mother's countenance. It was a light that irradiated and dazzled her.
Turning aside, he leant his arms upon the edge of the rain-water-butt standing in the corner, and looked into it. The reflection from the smooth stagnant surface tinged his face with the greenish shades of Correggio's nudes. Staves of sunlight slanted down through the still pool, lighting it up with wonderful distinctness.
I think you will grow familiar with Leonardo's faces through study of Luini." During the stay in Milan they went down to Parma for a day, just to look at the fine examples of Correggio's works in the gallery and churches. In this city they could get the association of this artist with his works as nowhere else. Mr.
Word Of The Day