. The study and criticism of Italian art : second series. ^> o Or. <. PAINTINGS BY MASOLINO 87 This work again is so obviously Masolinos, thatit seems useless to attempt to prove it. Yet forsceptics a few words by way of demonstration willscarcely be out of place. Let them, then, comparethe head of this Virgin with that of the elegantyouth seen full face in the Raising of Tabitha, orthat of the curly-headed youth in Herods Feastat Castiglione. The same proportions, the sametender look in the eyes, the same sweet mouth, andthe same shape of nose. Here as ever in Masolino,the outer corners
. The study and criticism of Italian art : second series. ^> o Or. <. PAINTINGS BY MASOLINO 87 This work again is so obviously Masolinos, thatit seems useless to attempt to prove it. Yet forsceptics a few words by way of demonstration willscarcely be out of place. Let them, then, comparethe head of this Virgin with that of the elegantyouth seen full face in the Raising of Tabitha, orthat of the curly-headed youth in Herods Feastat Castiglione. The same proportions, the sametender look in the eyes, the same sweet mouth, andthe same shape of nose. Here as ever in Masolino,the outer corners of the eyes are turned slightlyupward. The angels are of the exact type wealready have encountered at Castiglione and in theMunich Trinity. But this fresco betrays considerable advance uponthe last-named panel, and perhaps even on the Cas-tiglione works. Masolinos feeling for form anddignity has greatly increased, and the Child isalmost as rugged in build, and stern in expression, asif he had been painted by Masaccio. This mastersname, however, should not be attached to
Size: 1366px × 1829px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectartital, bookyear1902
