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) (14594993280).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

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
rlier work than the other. It wasbought from the artist Acciaj, by Ferdinand III.,for about $1,020 in our money. The artist had inhis turn bought it from a Roman picture dealer.The Virgin is seated, with the infant on her knee,and he is playing with a rosary. It is very lovely,as all Murillos Madonnas are; but it has rather acrisper touch than the other picture. Number 63,which is quite vaporous and full of that deliciousyellow light which Murillo knew so well how toproduce, often considered artificial by carping critics.The child is turning to look directly out at thespectator, with a most glorious pair of large, liquideyes. It may not be an intellectual picture, but itis strikingly beautiful and peaceful. The colouringis mellow and restful. Bartolome Esteban Murillo was born in Seville in1618, and became, from the most unpropitious be-ginnings, one of the foremost artists in the world.As a youth he worked, in a small, inconspicuousway, in a studio in Seville, with few appliances and
Text Appearing After Image:
MADONNA AND CHILDBy Murillo; in the Hall of Apollo tCbe Iball of Apollo 77 no models, except when one of the class was willingto strip and pose for a leg or an arm. He had nomoney: being a poor boy, he had to turn his talentsto practical account without regard to any senseof pride that he might feel, so he began his artisticcareer by painting religious pictures for the publicfairs. Pittura de la Feria was a proverbialexpression in Spain for a daub, but the slightremuneration which these early efforts brought himwas necessarily his chief consideration, so he daubed away bravely, shipping off Madonnasand popular saints by the dozen, and doubtless bene-fiting all the time by the practice which his prolificpencil gained. At the same time he was supportingan invalid sister, and yet he made enough at thistrade to enable him to go to Madrid to study. Assoon as he arrived he made himself known to Velas-quez, his own fellow townsman, then court painter.Velasquez was so struck with the youths a

Note About Images