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 . MYSTIC MARRIAGE OF ST. CATHERINE LOUVRE, PARIS CORREGGIO. JEREMIAH SISTINE CHAPEL, ROME MICHELANGELO CORREGGIO-MICHELANGELO It is the feeling of the sculptor that we recognize inthis painting of Jeremiah; the feeling for solidity andweight of mass, for stability of pose; a preference forsimple lines and bold surfaces, arranged in a few appreciate this distinction, compare Correggi
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 . MYSTIC MARRIAGE OF ST. CATHERINE LOUVRE, PARIS CORREGGIO. JEREMIAH SISTINE CHAPEL, ROME MICHELANGELO CORREGGIO-MICHELANGELO It is the feeling of the sculptor that we recognize inthis painting of Jeremiah; the feeling for solidity andweight of mass, for stability of pose; a preference forsimple lines and bold surfaces, arranged in a few appreciate this distinction, compare Correggios pic-ture: its intricacy of lines, the distance of its recedingplanes, but more particularly the character of its com-position, consisting of so many varieties of lighted andshadowed parts, and the absence of suggestion that thefigures are firmly planted. While Correggio has reliedupon beautiful drawing, upon exquisite expression ofhands and faces, and on color, light, and shade, and hisgolden atmosphere that envelops the whole, Michelan-gelo relied solely upon form—the form of the figure andof the draperies. This is to admit that, judged fromthe standpoint of painting, he w^as not a great himself told Pope Julius II, when the latter re-ques
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
