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Updated: May 21, 2025
But because his pupil, or reputed pupil, Luini, labored in constant and successful simplicity, we have no anecdotes of him; only hundreds of noble works. Luini is, perhaps, the best central type of the highly-trained Italian painter. He is the only man who entirely united the religious temper which was the spirit-life of art, with the physical power which was its bodily life.
Few pictures bring the splendid Milanese Court so vividly before us as these portraits of the Bentivogli: they are, moreover, very precious for the light they throw on what Luini could achieve in the secular style so rarely touched by him. Great, however, as are these frescoes, they are far surpassed both in value and interest by his paintings in the side chapel of S. Catherine.
It is surely not without significance that this metempsychosis of genius should have happened in the case of Lionardo, himself the magician of Renaissance art, the lover of all things double-natured and twin-souled. Two painters of the Lombard school, Bernardino Luini and Gaudenzio Ferrari, demand separate notice.
Catherine of Luini which he had copied, and found it wantonly damaged by the carelessness of masons who put their ladders up against it, just as if it were a bit of common whitewashed wall. On the 8th he reached Verona after seventeen years' absence, and on the 10th he was in Venice.
But the high-priest, who had received a revelation from an angel concerning the destiny of Mary, informed her thereof, and she with all humility submitted herself to the divine will. This scene between Mary and the high-priest has been painted by Luini, and it is the only example with which I am acquainted. Ital. Il Sposalizio. Fr. Le Mariage de la Vierge. Ger. Die Trauung Mariä. Jan. 23.
That a special style was developed by Luini, Ferrari, and other artists of the Milanese duchy, so that their manner differs essentially from that of Parma and Cremona, does not invalidate the importance of this fact about its origin. The name of Roman School, again, has been given to Raphael and Michael Angelo together with their pupils.
This is a picture by Luini right here the Madonna of the Rose-Trellis. The Madonna is strikingly like Leonardo's ideal in the long, slender nose, the rather pointed chin, the dark, flowing hair, and, above all, in the evidence of some deep thought. If it were Leonardo's, there would be, with all this, a faint, subtile smile. See the treatment of light and shade, so delicate, and yet so strong.
"He was that furious. The things 'e said 'e'd do to his lordship!" said Holloway in a deeply-impressed tone. "Threatened men live long," said Mr. Manley carelessly. There is in the collection of the Earl of Ellesmere a picture of the head of a girl which the connoisseurs of the nineteenth century ascribed to Leonardo da Vinci. The connoisseurs of the twentieth century ascribe it to Luini.
The only painter who approaches Luini in what may be called the Lombard, to distinguish it from the Venetian idyl, is Sodoma; and the work of his which comes nearest to Luini's masterpieces is the legend of St. Benedict, at Monte Oliveto, near Siena. Yet Sodoma had not all Luini's innocence or naïveté.
His heads of women, children, and angels present every degree of serenity, sweet cheerfulness and happiness, up to ecstatic rapture. 'Christ Disputing with the Doctors, in the National Gallery, formerly called a Lionardo, is now known to be a Luini. He painted much, whether in tempera, fresco, or oil.
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