A new history of painting in Italy : from the II to the XVI century . rt Q WM t/3 o u o H S <!. FRA BARTOLOMMEO BELLA PORTA 401 The greatness of Baccio della Porta, however, is not to be sought inportraits, any number of which would fail to reveal the expansion ofhis talents as a composer, a draughtsman, or a colourist. Unfortunately,we are without examples of any other land until 1498, the date of hisLast Judgment in the Gallery of S. Maria Nuova at Butthe void may to some extent be filled by his drawings, many of which,including a portion of those made with a view to use in the
A new history of painting in Italy : from the II to the XVI century . rt Q WM t/3 o u o H S <!. FRA BARTOLOMMEO BELLA PORTA 401 The greatness of Baccio della Porta, however, is not to be sought inportraits, any number of which would fail to reveal the expansion ofhis talents as a composer, a draughtsman, or a colourist. Unfortunately,we are without examples of any other land until 1498, the date of hisLast Judgment in the Gallery of S. Maria Nuova at Butthe void may to some extent be filled by his drawings, many of which,including a portion of those made with a view to use in the fresco wehave named, are in the Uffizi. They are all done carefully with a finepen, with a seeking after grace in the movements recalling Filippino,but with a successful grasp of the various phases of life in motion. Hisdrapery, whether in flight or simply falling, is full yet very nobly cast,at rare intervals festooned, but never betraying forgetfulness of theunder forms. The heads, of elliptic shape, rest on slight long necks, areminiscence (with the casual festooning in cloth) of Rosselli.
Size: 1994px × 1253px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, bookpublisherlondondent, bookyea
