FREE BOOKS

Author's List




PREV.   NEXT  
|<   59   60   61   62   63   64   65   66   67   68   69   70   71   72   73   74   75   76   77   78   79   80   81   82   83  
84   85   86   87   88   89   90   91   92   93   94   95   96   97   98   99   100   101   102   103   104   105   106   107   108   >>   >|  
Venice; developed his genius at home, under such conditions for development as were afforded by the example of the earlier masters of Brescia itself; left his work there abundantly, and almost there alone, as the thoroughly representative product of a charming place. In the little Church of San Clemente he is still "at home" to his lovers; an intimately religious artist, full of cheerfulness, of joy. Upon the airy galleries of his great altar-piece, the angels dance against the sky above the Mother and the Child; Saint Clement, patron of the church, being attendant in pontifical white, with Dominic, Catherine, the Magdalen, and good, big-faced Saint Florian in complete armour, benign and strong. He knows many a saint not in the Roman breviary. Was there a single sweet-sounding name without its martyr patron? Lucia, Agnes, Agatha, Barbara, Cecilia--holy women, dignified, high-bred, intelligent--[103] have an altar of their own; and here, as in that festal high altar-piece, the spectator may note yet another artistic alliance, something of the pale effulgence of Correggio--an approach, at least, to that peculiar treatment of light and shade, and a pre-occupation with certain tricks therein of nature itself, by which Correggio touches Rembrandt on the one hand, Da Vinci on the other. Here, in Moretto's work, you may think that manner more delightful, perhaps because more refined, than in Correggio himself. Those pensive, tarnished, silver side-lights, like mere reflexions of natural sunshine, may be noticed indeed in many another painter of that day, in Lanini, for instance, at the National Gallery. In his "Nativity" at the Brera, Procaccini of Verona almost anticipates Correggio's Heilige Nacht. It is, in truth, the first step in the decomposition of light, a touch of decadence, of sunset, along the whole horizon of North-Italian art. It is, however, as the painter of the white-stoled Ursula and her companions that the great master of Brescia is most likely to remain in the memory of the visitor; with this fact, above all, clearly impressed on it, that Moretto had attained full intelligence of all the pictorial powers of white. In the clearness, the cleanliness, the hieratic distinction, of this earnest and deeply-felt composition, there is something "pre-Raphaelite"; as also in a certain liturgical formality in the grouping of the virgins--the [104] looks, "all one way," of the closely-ranged faces; while in th
PREV.   NEXT  
|<   59   60   61   62   63   64   65   66   67   68   69   70   71   72   73   74   75   76   77   78   79   80   81   82   83  
84   85   86   87   88   89   90   91   92   93   94   95   96   97   98   99   100   101   102   103   104   105   106   107   108   >>   >|  



Top keywords:

Correggio

 

patron

 

painter

 
Moretto
 
Brescia
 

Lanini

 
instance
 

decomposition

 

noticed

 

National


Verona
 

anticipates

 

Heilige

 

Procaccini

 

Gallery

 
Nativity
 

sunshine

 

genius

 

reflexions

 
manner

delightful

 
conditions
 

refined

 

lights

 

silver

 

tarnished

 

pensive

 
natural
 

sunset

 

deeply


earnest

 

composition

 

Raphaelite

 

distinction

 

hieratic

 

pictorial

 

intelligence

 

powers

 

clearness

 

cleanliness


liturgical

 

ranged

 

closely

 

formality

 

grouping

 

virgins

 
attained
 

stoled

 

Ursula

 

Italian