File:A history of painting... - with a preface by Frank Brangwyn (1911) (14594415019).jpg

Identifier: historyofpainti03macf (find matches)
Title: A history of painting... / with a preface by Frank Brangwyn
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: Painting Painters
Publisher: Boston : Dana Estes and Co.
Contributing Library: PIMS - University of Toronto
Digitizing Sponsor: University of Toronto

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the spirit of his age,came at last to seek his ideal of beauty in an emptyabstraction, wherein, instead of sensing purified nature,he evolved an ideal that sheds from it the palpitating andvigorous individualities of life. Inevitably he went toGreek statuary instead of to the living forms about him ;and the beauty of his forms—and their beauty cannot for amoment be denied—are wrought from the chill forms orcelebrated antiques ; the result is the sense of calculationand measured phrase instead of the thrill of spontaneousfeeling. But his art was to go through three phases, phasesso different that what we condemn in one must becomepraise of another. Whatever his faults at their worst, itwas Guido Reni who painted and created the finest type ofthe Christ known throughout the whole range of art. Guido Reni, or, as he is usually called, Guido, was bornat Calvenzano, by Bologna, on the 4th of the November 32 Ill GUIDO RENI 1575 - 1642 SCHOOL OF THE ECLECTICSECCE HOMO! (National Gallery)
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OF PAINTING of 1575, to a musician of that town, and was intended for WHEREINthat calling ; but showing precocious gifts for painting, he WE SEEwas placed as a youth in the studio of Denis Calvaert at THAT,Bologna, whence, in 1595, he went to the academy of the EVEN ASCarracci. About 1600 he, together with Albano, followed ^ D^~Annibale Carracci to Rome, and at once won to wide Jr^ ltin repute; being received with great distinction by the ctt-)p of aBorgian Pope Paul v. ; and in Rome he wrought his art HILL ITfor close on twenty years. MAY BE Guido, though trained in the school of the Eclectics ONLY TOunder Carracci, seems to have come under the new teaching FINDof the virile school of the Naturalists, or what we should GREATERcall Realists, that Caravaggio was setting up in violent HEIGHTSopposition to the Eclectics. Of this Naturalistic School of TO ^^painting, and of its stupendous influence in stimulating the ^I^M^DDutch and Spanish genius, we shall see more soon. GuidoReni, at an

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