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) (14781363912).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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a steady gaze; the facerather thin, the eyes pale blue; a delicate moustachemeets his slight beard. He is of a great race, buthe has seen more than one manoeuvre of life; de-lights, anxieties, the knowledge of danger have lefttheir marks upon his face ... it is the face ofone energetic, yet weary, and also a dreamer. The canvas shows the figure half-length, but thedrawing is life-size. This portrait is so strikingthat it is remarkable that we have no record of itother than that it was painted by the great Vene-tian. The black texture of the garment is that ofsilk, not velvet. This portrait has unusual virility,— is wonderfully alive. Titian has been quoted as saying that red, white,and black are the only colours an artist needs. Atfirst glance one would say that he had literally car-ried out this theory in the picture; but, like much ofTitians work, upon closer examination it will befound to glow with that ineffable quality of han-dling which Ruskin has aptly called a peculiar mys-
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HOWARD, DUKE OF NORFOLK (DETAIL) By Titian; in the Hall of Mars Xlbe 1baU ot /iDats 3 tery about the pencilling, sometimes called softness,sometimes freedom, and sometimes breadth; butin reality a most subtle confusion of colours andforms, in the same way that a mosaic owes muchof its beauty to the fact that no stone is exactly likeany other stone, so that even the broad spaces ofplain colour are in reality made up of little varie-gated dots. It would be difficult to point to a better portrait,technically considered, than this one, painted at anyperiod of the development of art, ancient or modern. Near by. Number 94, is the Madonna del Im-pannata. This picture is of doubtful authenticity,but has usually been attributed to Raphael. It ap-pears to be one of Ruskins hetes noir/ for hespeaks of its repainted distortion being redeemedonly by the light which comes in from the linenwindow, — whence the picture derives its name, Impannata signifying a cloth window. It is generally conceded

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