. The story of Verona . rsonality is revealed in his paintings,and more still in his medals and in his treatment ofportraits where he represented his sitters en profile,and obtained a striking and lasting success from thisstyle of portraiture—till then untried and absolutelyoriginal. His skill as a medallist caused him to findpatrons in almost every court in Italy and to bewelcomed at them all in turn. He worked too inconjunction with Gentile da Fabriano in the DucalPalace at Venice, decorating and restoring thatprincely building, and imbibing probably much ofGentiles feeling for finish, colou
. The story of Verona . rsonality is revealed in his paintings,and more still in his medals and in his treatment ofportraits where he represented his sitters en profile,and obtained a striking and lasting success from thisstyle of portraiture—till then untried and absolutelyoriginal. His skill as a medallist caused him to findpatrons in almost every court in Italy and to bewelcomed at them all in turn. He worked too inconjunction with Gentile da Fabriano in the DucalPalace at Venice, decorating and restoring thatprincely building, and imbibing probably much ofGentiles feeling for finish, colour, and brilliancy. But it is in Verona, says Mr Selwyn Brinton,^ that the best of his work in fresco remains—damaged, almost ruined, but attesting to his vigorousart, to his wonderful grasp of animal life. This lattertrait is very marked in Pisanello, and shows that hislove of animals, his study of them, as well as of nature ^ Selwyn Brinton, The Renaissance in Italian Art. Part 37. Simpkin, London, 1898. 136. ftlADilNNA AND ), VITTUK , MUsKO CIVICO Men of Letters—School nf Paintuig in every possible form, was deep and true. He intro-duces some phase of animal life into most of hispictures, and in the care and finish bestowed on everybird or beast that he sets before us, we feci we have todo with an artist who loves and understands his subject. Pisanello is perhaps even more famous as a medallistthan as a painter, and speaking of his medallions, theauthor quoted above says: They are a gallery ofcontemporary portraits, priceless to the student ofRenaissance history. Leonello dEste (who was hisspecial friend and patron), lord of Ferrara, with hisstrong, ugly face; Cecilia Gonzaga, the delicate,refined head poised on the long swan-like neck;Inigo dAvalos, Marquis of Pescara; SigismondoPandolfo Malatesta, the lord of Rimini, the culturedtyrant, the lover of the fair Isotta degli Atti . . ;Filippo Maria Visconti, so conscious of his appearancethat he liv
Size: 1262px × 1980px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booki, bookpublisherlondonjmdent
