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Updated: May 31, 2025
The landscape is so exquisite and the mild sweetness of the whole work so complete; and yet, although the technical mastery is almost thrilling, the "Madonna del Pozzo" by Andrea del Sarto's friend Franciabigio, close by No. 1125 arouses infinitely livelier feelings in the observer, so much movement and happiness has it.
He studied under a diversity of masters, including Leonardo da Vinci, Albertinelli, Piero di Cosimo; and finally, in 1512, he entered Andrea del Sarto's school, but did not stay long there either. Some say Andrea was jealous of his success; he, however, had generosity enough to praise and acknowledge his talent, and to show his appreciation by giving him important work to do in his own studio.
The Florentine attracted every gaze by her broad, high brow, as white as snow, crowned with plaits of black hair that gave her a really royal look; by the refinement of her features, resembling the noble features of Andrea del Sarto's heads; by the outline of her face, the setting of her eyes; and by those velvet eyes themselves, which spoke of the rapture of a woman dreaming of happiness, still pure though loving, at once attractive and dignified.
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.
"Ah," he answered, "you must not hate Lucretius. I have had more pleasant hours with him than with any living person." He rose and came forward to examine her copy of Andrea del Sarto's portrait. "Yours is better than mine," he said, critically; "in fact, mine is a failure. I think I shall only get a small price for mine; indeed, I doubt whether I shall get sufficient to pay for my funeral."
The question of Andrea del Sarto's birth is a mooted one. Biadi dates it 1478, but the register he quotes is both vague and doubtful. He also tells a curious story of his Flemish origin.
Titian's most celebrated works were set up on the loom, as for example the beautiful fancy known as Sacred and Profane Love, which perplexes the loiterer of to-day in the Villa Borghese. Other paintings copied were Raphael's Transfiguration, Guido René's Aurora, Andrea del Sarto's Charity.
There were Raphael's Madonna of the Agnus Dei, Andrea del Sarto's Portrait of Lucrezia Fede, Titian's Salome, Botticelli's Madonna and Angels and numbers of Tintorettos, Carpaccios, Rembrandts, Velasquez. "What fine copies!" said Beautrelet, approvingly. Lupin looked at him with an air of stupefaction: "What! Copies! You must be mad!
She could not give anything her undivided attention for her thoughts were on the way with the Captain, and she was fighting against the unhappiness that threatened to overpower her. "Surely he will come back," she said, to a copy of Andrea del Sarto's St. John that hung above the mantel. "This cruel war has taken my real father; it cannot take my godfather too."
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