File:The art of the Pitti Palace - with a short history of the building of the palace, and its owners, and an appreciation of its treasures (1903) (14594991730).jpg

Identifier: artofpittipalace1903addi (find matches)
Title: The art of the Pitti Palace : with a short history of the building of the palace, and its owners, and an appreciation of its treasures
Year: 1903 (1900s)
Authors: Addison, Julia de Wolf Gibbs, 1866-
Subjects: Palazzo Pitti Painting
Publisher: Boston : L.C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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Text Appearing Before Image:
HE HALL OF APOLLO In the Hall of Apollo we first make the acquaint-ance of Raphael, although only as a portrait-painter.Raphael Sanzio is probably the most generally be-loved artist who ever lived. The key-note of his pic-tures is a cheerful serenity. He avoids extremes oiall kinds. Leonardo leaned to the intellectual and thepsychical; Titian glorified the physical; Raphaelmaintained the golden mean, and painted in hiscreative work the real with an ideal touch. But in his portraits the ideal is thrown aside. He is absolutely exact, — pitilessly realistic. Raphael always painted what he saw. If his model was an ugly woman, he painted her as she was; if he was representing a handsome man, he was equally true to nature; when he turned his glance inward and painted what he saw in his own imagination, he was a great idealist. He was an idealist because he was so much of a realist; he transcribed exactly what he saw, — either the actual flaw of nature, or the actual spiritual vision. 68
Text Appearing After Image:
ANGELO DONIBy Raphael; in the Hall of Apollo XLbc Iball of Hpollo 69 The portraits of Angelo and Madelena Doni arethe earliest painted by Raphael. They hang in theHall of Apollo, numbered 59 and 61. They wereexecuted about 1505 in Florence, and are on wood.Angelo Doni was a great friend of Raphael. Theseportraits are among the best that Raphael haspainted, especially that of Angelo. They are ratherstiff, and have a slightly wooden and varnishedexpression, like most works of the Umbrian school. Angelo, being perhaps more interesting-lookingas a man than Madelena was as a woman, is themore pleasing subject. He is represented in three-quarter view, clothed in black and red, with a doublegolden clasp at his throat, and a black beretta onhis head, from which the chestnut hair falls thick andshort about his neck. The short fat hands are wellpainted, and the rings which adorn one of them arebeautifully rendered. The expression of the fineeyes and the delicate shape of the face are strongand

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