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) (14595035379).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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s case the more woddly-wise of the family holds in her right hand a quiverof arrows, which she is about to entrust to the keep-ing of the child, presumably first instructing himin his duties. He has a little bow in his hand, andappears to be listening to the maternal advice. Thepicture is full of noon-light; Phoebuss chariot isseen in the clouds nearly above the tent, outsideof which the family has gathered. A charminglandscape background completes the picture. Thisis one of Tintorettos earlier works^ and the colouris in his most cheerful vein. Tintoretto was also called Furioso, for there isthat in the quality of his work which sometimesbetokens a positive rage of zeal, — a rapidity ofexecution born of impatience to see the whole effect;a willingness to leave the effect to do its work with-out any further attempt to finish or polish. He wasa great Modem; effect was sometimes achieved atthe expense of accuracy. He was one of the fewgreat geniuses who could afford to slight the tech-
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Q M h-( 3 PUl C 1^ X 0 H I—( ^ ^ <u < j3 U - ... o Q -4-14-> ^ (U Zbc Iball of Denus 49 nical requirements, as too many men imagine intheir conceit that they can do to-day. His paint-ing of women shows that his nature was not volup-tuous, for he draws refined types verging ratheron the masculine than on the feminine in theirproportions. He combined the great generous modeof treatment with the mediaeval purity of intentionand love of art for its own sake. Tintorettos imagination is sometimes said notto be poetic. It is true he is not poetic as Tenny-son and Longfellow were poetic; but as Dante,Milton, and Browning were poetic, so, in a markeddegree, was Tintoretto. In treating the humanform he combined a feeling for the colossal witha spirit of refinement which was then coming intofashion; so that his women are often slight andgraceful, — less Junoesque than those of Michel-angelo. His position in the art o

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