Vietnam or Thailand ? Vote for the TOP Country of the Week !
The Campo Santo The Vivarini The glass-blowers An artist at work S. Pietro A good Bellini A keen sacristan S. Donato A foreign church An enthusiast Signor "Rooskin" The blue Madonna The voyage to Burano The importunate boatman A squalid town The pretty lace workers Torcello A Christian exodus Deserted temples The bishop's throne The Last Judgment The stone shutters The Porto di Lido.
"But," he added, as they entered the building and stepped into the first room, "I would like you to stop for a few minutes and look at these quaint pictures by the Vivarini, Basaiti, Bissolo, and others of the early Venetian painters. Here you will notice the first characteristics of the school.
It has passages of the intensest blue, thus making it a perfect thing for a poor congregation to delight in as well as a joy to the more instructed eye. In the sacristy is an Alvise Vivarini "Christ bearing the Cross" which has good colour, but carrying such a cross would be an impossibility.
Vivarini, signed and dated 1485, and in the Franciscan convent of S. Eufemia, some way outside the walls, there are said to be two pictures by the same artist. Of S. Giovanni Battista, which was so interesting for the construction of its apse and ambulatory, scarcely anything remains just the exterior wall of the apse and north wall of the nave, with remains of one door with an inscription.
Much more common is the enthroned Madonna in Adoration, and for this we may turn to the pictures of the Vivarini, Bartolommeo and Luigi, or Alvise. These men were of Muranese origin, and in the very beginning of Venetian art-history were at the head of their profession, until finally eclipsed by the rival family of the Bellini.
Pietro Longhi Hogarth Tiepolo A gambling wife Canaletto Guardi The Vivarini Boccaccini Venetian art and its beginnings The three Bellinis Giovanni Bellini A beautiful room Titian's "Presentation" The busy Evangelists A lovely ceiling. A number of small rooms which are mostly negligible now occur.
Bartolommeo Vivarini of Murano also acquitted himself very well in the works that he made, as may be seen, besides many other examples, in the panel that he executed for the altar of S. Luigi in the Church of SS. Giovanni e Polo; in which panel he portrayed the said S. Luigi seated, wearing the cope, with S. Gregory, S. Sebastian, and S. Dominic on one side of him, and on the other side S. Nicholas, S. Jerome, and S. Rocco, and above them half-length figures of other saints.
In the sacristy, however, the chilled visitor will be restored to life by a truly delightful Madonna and Child, with two little celestial musicians playing a lullaby, said to be by Bellini, but more probably by Alvise Vivarini, and two companion pictures of much charm. Like the Salute, the Redentore was a votive offering to heaven for stopping a plague.
With Vivarini, Bellini, and Cima, the Madonna in Trono was the expression of a devout religious feeling. With Titian, Tintoretto, and Veronese, it was merely one among many popular art subjects. Thus arose two different general types.
What the Vivarini began, the three Bellini, with Crivelli, Carpaccio, Mansueti, Basaiti, Catena, Cima da Conegliano, Bissolo, Cordegliaghi, continued.
Word Of The Day