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Updated: May 25, 2025
When Montaigne passed through Venice she sent him a little book of hers, as we learn from his Journal, though they do not appear to have met. Tintoret was one of her many distinguished friends, and she was a strenuous advocate of the high qualities of modern, as compared with ancient, art. Her friendships were affectionate, and she even seems to have had various grand ladies among her friends.
Nick's comment on this was that she was a happy woman to have such a go at Titian and Tintoret: as he spoke, and for some time afterwards, the sense of how he himself should enjoy a like "go" made him ache with ineffectual longing.
And so he got together a mass of examples in addition to the Turners which he had already given to the University galleries. He placed in the school a few pictures by Tintoret, some drawings by Rossetti, Holman Hunt, and Burne-Jones, and a great number of fine casts and engravings.
In his earlier years, his intense emotion and vivid imagination had enabled him to read into pictures of Tintoret or Turner, into scenes of nature and sayings of great books, a meaning or a moral which he so vividly communicated to the reader as to make it thenceforward part and parcel of the subject, however it came there to begin with.
Thus Tintoret and Shakespeare paint, both of them, simply Venetian and English nature, as they saw it in their time, down to the root; and it does for all time; but as for any care to cast themselves into the particular ways and tones of thought, or custom, of past time in their historical work, you will find it in neither of them, nor in any other perfectly great man that I know of.
For my own part, when I speak of the Venetian painters, I wish to be understood to mean Paulo Veronese and Tintoret, to the exclusion of Titian; for though his style is not so pure as that of many other of the Italian schools, yet there is a sort of senatorial dignity about him, which, however awkward in his imitators, seems to become him exceedingly.
The older painters had seen something undivine in man; the colossal mosaic, the tall unwomanly Madonna, expressed the sense of the Byzantine artist that to be divine was to be unhuman. The Renascence, with little faith in God, had faith in man, but only in the might and beauty and knowledge of man. With Tintoret the common life of man is ever one with heaven.
The light here is in fact a mighty magician and, with all respect to Titian, Veronese and Tintoret, the greatest artist of them all. You should see in places the material with which it deals slimy brick, marble battered and befouled, rags, dirt, decay.
No man came to Rembrandt and asked to be painted like that; but Rembrandt saw in his mind's eye a great effect a fine knightly face beneath a shadowing helmet and set off against a sombre background. A picture such as this is a work of the imagination in the same sense as the 'Saint George and the Dragon' of Tintoret.
She felt the danger and called Mr. Hazard to her aid. Hazard suggested alterations, and insisted much on what he was pleased to call "values," which were not the values Esther had given. With his help the picture became respectable, as pictures go, although it would not have been with impunity that Tintoret himself had tried to paint the soul of the prairie.
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