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) (14778561031).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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acardinal by Clement X., and who devoted his lifeto literature and art. He was specially interestedin portraits, and the large collection at the Uffizi wasmade by him. He also left many pictures to thePitti collection. He died in 1675, at fifty-eight yearsof age. The subject of this picture is so engrossing thatwe have so far neglected the artist, who was a Flor-entine, doing most of his work in the early seven-teenth century. He painted principally miniatures,and many were bought by this same Cardinal Leo-pold de Medici. Some of them may be seen in theroyal collection. Though somewhat stiff, his figuresare delicately handled, and his still-life is usuallyfine. Guercinos interesting group of St. Peter raisingthe Widow Tabitha (Dorcas) is the one numbered50. The lights and shadows are extremely marked,as they generally are in the pictures by this artist.This picture is by many considered to be the master-piece of Guercino. It was painted in 1618, whenhe was at the height of his power.
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-t PQ o < H O D. ^ O Z • ^ t-H o t-H J2 < oi » W PQ pL. H CT) XEbe l)all ot HpoIIo 97 In Guercinos painting, the young widow, the lightstriking full upon her face and her feet and illuminat-ing the long outlines of the body, lies extended on herbier at the right of the canvas. St. Peter in a com-manding attitude stands by the bier, his right handraised in pronouncing his command to the dead torise again, while his left hand grasps his cloak abouthim. His figure and head are superbly drawn. Sev-eral people stand about in attitudes of sorrow. Thefirst to attract the eye is the figure of a woman onthe right, near the bier. With both hands on herbreast, and her upturned face evincing the utmostsorrow, she is imploring the saint to perform hismiracle. The lights are thrown strenuously uponthis figure, which is most lovely, as also upon theback of a woman on the extreme left, whose draper-ies and head-d

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