How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods . ntoretto. They had been succeededby many clever painters, but by none of commandinggenius. On the one hand were Guido Reni and CarloDolci, saturated with sentimentality; on the other, Sal-vator Rosa, following Caravaggio in depicting whatwas impetuously powerful, and yet again Tiepolo, abrilliant and vivacious decorator. Poussin, amid thisuncertain flux of energy, attached himself to Domeni
How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods . ntoretto. They had been succeededby many clever painters, but by none of commandinggenius. On the one hand were Guido Reni and CarloDolci, saturated with sentimentality; on the other, Sal-vator Rosa, following Caravaggio in depicting whatwas impetuously powerful, and yet again Tiepolo, abrilliant and vivacious decorator. Poussin, amid thisuncertain flux of energy, attached himself to Domeni-chino, a painter of much strength but poor as a he pursued his study of sculptured low-reliefs, practising modeling as well as drawing. The effect of this is apparent in the grouping anddrawing of the figures in this picture, for they are ar-ranged as in a low-relief: the woman slightly in advanceof the two stooping figures, while the fourth figure isonly slightly behind these. The three planes in whichthe figures stand are flattened as far as possible into one;and the figures are relieved by the contrasts of light andshade, instead of being detached in their separate en- [ 232 ].
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Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
