File:A new history of painting in Italy, from the second to the sixteenth century (1864) (14762344721).jpg

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Identifier: newhistoryofpain02crow (find matches)
Title: A new history of painting in Italy, from the second to the sixteenth century
Year: 1864 (1860s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897
Subjects: Painting
Publisher: London, J. Murray
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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infuse life into a labouredanatomy, in the play of features it cannot suggest anyone of the passions. It is that Benozzo being endowedwith certain simious qualities and having had occasionto contemplate many masterpieces in his life, but beingunable to fathom all the sources and mysteries of the artof his cotemporaries, tries to imitate results, and thinks itenough if he has approximately succeeded. Nothing that 1 Ciampi, Notiz. Ined. ub. sup.p. 153. The commission was givenin May 1469 (Pis. St.). He there-fore took nine months to painthis first fresco. See Forster, Bei-trage. ub. sup. p. 131. 2 The whole figure of Noah ly-ing on the right foreground isnew, as well as all the lower part ; of the group about him. Otherparts here and there are scaled.A long perpendicular flaw, in thecentre of the fresco near Noahdrinking, cuts away part of a fe-male near him. On the collar ofthe figure pointing with both handsto the prostrate patriarch are the words: us Benotii de Flor- entia MCCCCL...
Text Appearing After Image:
Chap. XXI. BENOZZO RETIRES TO PISA. 51 I he does is founded on any principle more profound thanthat of superficial imitation. If he foreshortens a figure,it is not that he has inquired into the laws of perspective,but because he copies with a certain speed and ease apetrified model. The same absence of scientific principlesmarks his architecture, which is surcharged with planesand ornament, and imperfect like that of Masolino andAngelico, without their excuse for imperfection; becauseMasaccio, Fra Filippo, Botticelli and Filippino had alreadyshown how it should be applied. Whilst Benozzo thusproves himself devoid of original talent in some im-portant branches, he is not much more successful as acolourist. His tones are somewhat entire and frequentlyinharmonious. His technical method on wall as on.panelis simple. In flesh he paints his shadows grey with awarm general liquid tint for light by their side; and hestipples the whole together with red. In draperies, heplaces the lights and s

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Source https://www.flickr.com/photos/internetarchivebookimages/14762344721/
Author Internet Archive Book Images
Permission
(Reusing this file)		 At the time of upload, the image license was automatically confirmed using the Flickr API. For more information see Flickr API detail.
Volume
InfoField
2
Flickr tags
InfoField
  • bookid:newhistoryofpain02crow
  • bookyear:1864
  • bookdecade:1860
  • bookcentury:1800
  • bookauthor:Crowe__J__A___Joseph_Archer___1825_1896
  • bookauthor:Cavalcaselle__G__B___Giovanni_Battista___1820_1897
  • booksubject:Painting
  • bookpublisher:London__J__Murray
  • bookcontributor:Harold_B__Lee_Library
  • booksponsor:Brigham_Young_University
  • bookleafnumber:574
  • bookcollection:brigham_young_university
  • bookcollection:americana
Flickr posted date
InfoField
28 July 2014

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