Miscellaneous Studies; A Series of Essays
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General Books publication date: 2009 Original publication date: 1920 Original Publisher: Macmillan Subjects: Architecture / General Architecture / History / General History / Civilization Literary Collections / Essays Literary Criticism / European / English, Irish, Scottish, Welsh Notes: This is a black and white OCR reprint of the original. It has no illustrations and there may be...
MoreGeneral Books publication date: 2009 Original publication date: 1920 Original Publisher: Macmillan Subjects: Architecture / General Architecture / History / General History / Civilization Literary Collections / Essays Literary Criticism / European / English, Irish, Scottish, Welsh Notes: This is a black and white OCR reprint of the original. It has no illustrations and there may be typos or missing text. When you buy the General Books edition of this book you get free trial access to Million-Books.com where you can select from more than a million books for free. Excerpt: ART NOTES IN NORTH ITALY1 Titian, as we see him in what some have thought his noblest work, the large altar-piece, dated 1522, his forty-fifth year, of SS. Nazaro e Celso, at Brescia, is certainly a religious -- a great, religious painter. The famous Gabriel of the Annunciation, aflight, in all the effortless energy of an angel indeed, and Sebastian, adapted, it was said, from an ancient statue, yet as novel in design as if Titian had been the first to handle that so familiar figure in old religious art -- may represent for us a vast and varied amount of work -- in which he expands to their utmost artistic compass the earlier religious dreams of Mantegna and the Bellini, affording sufficient proof how sacred themes could rouse his imagination, and all his manual skill, to heroic efforts. But he is also the painter of the Venus of the Tribune and the Triumph of Bacchus; and such frank acceptance of the voluptuous paganism of the Renaissance, the motive of a large proportion of his work, might make us think that religion, grandly dramatic as was his conception of it, can have been for him only one of many pictorial attitudes. There are however painters of that date who, while their work is great enough to be connected (perhaps groundlessly) with Titian's personal influence, or directly attributed to his hand, possess at least this psychological interest, that about their religiousness there...
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