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Updated: May 4, 2025
In all these pictures Crivelli reveals himself as an artist filled with emotional inspiration, to whom the thrill of life is more than its trappings, and one, moreover, who observes, balances and differentiates. The society of his saints and angels is stimulating; the element of the unexpected enters into his work in open defiance of his pronounced mannerism. It is possible to detect beneath the close and manifold coverings of his ornate decoration a swift flame of imaginative impulse such as Blake sent into the world without such covering. He would have pleased Blake by this nervous energy and by his pure bright coloring, despite the fact that he signed himself "Venetus." He painted in tempera and finished his work with care and deliberation. It is remarkable that so little of his mental fire died out in the slow process of his execution. It is still more remarkable that in spite of his reactionary tendencies, his archaistic use of gold and relief at a moment when all great artists were renouncing these, he is intensely modern in his sentiment. He seems to represent a phase of human development at which we in America have but recently arrived; a phase in which appreciation of ancient finished forms of beauty is united to a restless eagerness and the impulse toward exaggerated self-expression. He is supposed to have been born about 1440, which would make him a contemporary of the two Bellini, of Hans Memling and of Mantegna. Had he only been able to give his imagination a higher range had he possessed a more controlling spiritual ideal, had the touch of self-consciousness that rests like a grimace on the otherwise lovely aspect of much of his painting, been eliminated, he would have stood with these on the heights of fifteenth century art. We are fortunate to have in America the Boston Museum Piet
Botticelli's crayon study for his Venus is almost antique; his tempera picture of Venus, with the pale blue scaly sea, the laurel grove, the flower-embroidered garments, the wisps of tawny hair, is comparatively mediæval; Pinturicchio's sketch of Pans and satyrs contrasts strangely with his frescoes in the library of Siena; Mantegna himself, supernaturally antique in his engravings, becomes comparatively trivial and modern in his oil-paintings.
These pictures are executed principally by the encaustic process, though some use was made also of tempera. The persons represented appear to be of various races Greek, Egyptian, Hebrew, negro, and mixed; perhaps the Greek type predominates in the specimens now known. At any rate, the artistic methods of the portraits seem to be purely Greek.
The last pictures of Louis Loeb were underpainted throughout in monochrome, the final colors being applied in glazes and rubbings, and to-day a number of others, landscape and figure painters, are attempting to restore and master this, the pure Venetian method, while still others, among them Emil Carlsen, are reviving the use of tempera.
Fresco and tempera paintings were chiefly intended for the interiors of churches or public buildings, whose dim light harmonized their more or less crude and positive tones. It was, however, only through the breadth and freedom of wall-painting that the ambition of the early masters was fully aroused and their powers found ample scope.
To his horror, Dal discovered that the first planetary stop-over was traditionally a hazing stop. It had been a well-kept patrol secret; the outpost clinic on Tempera VI was waiting eagerly for the arrival of the new "green" crew, knowing full well that the doctors aboard would hardly be able to stumble out of their bunks, much less to cope with medical problems.
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