The art of the Pitti Palace : with a short history of the building of the palace, and its owners, and an appreciation of its treasures . Catherine, who kneels in the foreground andencircles his little body with her arms. The youngSt. John kneels near by, with an ineffable expressionof love and wonder on his face. Green, blue, andgold are the key-notes of colour in this picture, re-lieved by the red robe of St. John. Ruskin thinks that if it were not for the flockof sheep and the figures in this work, the landscape,taken as a painting of nature, would be overchargedwith green and blue. This pic
The art of the Pitti Palace : with a short history of the building of the palace, and its owners, and an appreciation of its treasures . Catherine, who kneels in the foreground andencircles his little body with her arms. The youngSt. John kneels near by, with an ineffable expressionof love and wonder on his face. Green, blue, andgold are the key-notes of colour in this picture, re-lieved by the red robe of St. John. Ruskin thinks that if it were not for the flockof sheep and the figures in this work, the landscape,taken as a painting of nature, would be overchargedwith green and blue. This picture goes to bearout Ruskins statement that Titian rarely paintssunshine, but instead a certain opalescent twi-light which has as much of human emotion asof imitative truth in it, and he bids us contrastthis picture in the qualities of its lights with theglowing Rubens near by, if we would understandthe difference, although Ruskin considers Titian a^greater painter than Rubens. He says that whileTitian sometimes conceives a subject imperfectly,yet his glory of hue always redeems it. Titian was the greatest of the Venetians. While. ^ <u S «- H O • W H O c ^^ •r-t wo Zbc Iball ot Denua S3 some question is thrown upon the authenticity ofthis picture, it is sufficiently characteristic in mostrespects to warrant our pausing to make a shortstudy of the artist whose works we shall so oftenmeet at various points in the Pitti Palace. Although this is a picture which may be criti-cized as a religious subject treated in too naturalistica way, we may quote Ruskin in reply: The relig-ion of Titian is like that of Shakespeare, occultbehind his magnificent equity. It is not remarkable that Titian had all his lifea keen appreciation for the romantic and poetic inlandscape, for his earliest impressions were formedamong the hills of Cadore, where he was born, —a mountain district, between the Alps and the Adri-atic, which is described by Titians anonymous biog-rapher thus: The famous T
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectpainting, bookyear190
