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Updated: June 17, 2025
Near it hangs the Fornarina, which he seems to have painted in as deep a love as he entertained for the original. The face is modest and beautiful, and filled with an expression of ardent and tender attachment. I never tire looking upon either of these two. Let me not forget, while we are in this peerless hall, to point out Guercino's Samian Sybil. It is a glorious work.
He was on the alert for signals of distress, of embarrassment, of terror; but what meant the glad light that leaped up in her eyes, the quick flush staining her wan cheek, the triumphant smile curving lips that a moment before might have belonged to Guercino's Mater Dolorosa, the relaxation of figure and features, the unmistakable expression of intense relief that stole into the countenance?
Listen to a modern English poet, who in his Light of Asia, speaks of a sword piercing the bowels of a queen: none blames him for bad English or breach of modesty. Or, to take still another example, look at Guercino's painting of Cato's death, in the Palazzo Rossa in Genoa. Whoever has read the swan-song which Addison makes Cato sing, will not jeer at the sword half-buried in his abdomen.
"No, she certainly has never seen me before, yet she knows me. How? She was very glad to get rid of me just now. Why? I am inoffensive enough. There is something uncommon about her; she gives me the idea of having a history, which is anything but desirable for a young woman. What fine eyes she has! She is something like that Sibyl of Guercino's in the Capitol. Why does she object to me?
Surely Thomson had been living under these two roofs when he wrote such descriptions as seem to have been made on purpose for them; could any one give a more perfect account of Guercino's performance than these words afford?
At the Colonna palace what have I remarked? That it possesses the gayest gallery belonging to any subject upon earth: one hundred and thirty-nine feet long, thirty-four broad, and seventy high: profusely ornamented with pillars, pictures, statues, to a degree of magnificence difficult to express. The Herodias here by Guido, is the perfection of dancing grace. No Frenchman enters the room that does not bear testimony to its peculiar excellence. But here's Guercino's sweet returning Prodigal, and here is a Madonna disperata bursting as from a cavern to embrace the body of her dead son and saviour. Such a sky too! But it is treating too theatrically a subject which impresses one more at last in the simple Piet
For example, at the Villa Ludovisi there was, beside numerous Englishry in detached bodies, a troop of Germans, chiefly young men, frugally pursuing the Sehenswürdigkeiten in the social manner of their nation. They took their enjoyment very noisily, and wrangled together with furious amiability as they looked at Guercino's "Aurora."
'Dido's Last Moments' and 'St Peter raising Tabitha' in Rome and in the Pitti Palace are fine examples of Guercino's work. His later pictures, like Guido's, are fascinating in softness, delicate colouring and tender sentiment, degenerating, however, into mannerism and insipidity, while his colouring becomes at last pale and washy. Albano, born 1578, died 1660.
Guercino's Sibyl figures with a cottage interior by Teniers, and Lely's Prince Rupert looks down with lordly scorn on Jonah pitched into the sea by the combined efforts of the two Poussins. The link between Berghem's cows and Del Sarto's Holy Family was doubtless supplied to the minds of the hanging committee by recollections of the manger.
The great picture-gallery at Milan, the Pinacoteca, in the Via di Brene, at the Palazzo delle Scienze e delle Arte, contains some six hundred paintings by celebrated artists, among them Raphael's Sposalizio, said to be the gem of the collection; Guercino's Abraham and Hagar; and a copy of Leonardo da Vinci's Last Supper, which, however, is in a very bad condition.
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