File:A history of painting (1911) (14781237654).jpg

Identifier: historyofpaintin01macf (find matches)
Title: A history of painting
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: Painting Painters
Publisher: London and Edinburgh : T.C. and E.C. Jack
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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del Fede, theextravagant and black-hearted jade, who roused a madinfatuation in him which was as disastrous to him as artistas his marriage with her was to him as man. Her faceappears in his several Madonnas, in The Holy Family at theBorghese Gallery in Rome, in the Madonna delle Arpie atthe Uffizi in Florence—a long, handsome face, that drewhim to dishonours manifold, to villainies, and to self-contempt. For her vile soul he flung his talents into themere making of money. Her heartless extravagances andvile conceit kept him in a state of perpetual money-troubles.At last he flung up his handsome and lucrative employmentby Francis i., King of France, whose confidence andtrust he foully betrayed, filching the large sums of gold242 XXVI ANDREA DEL SARTOi486 I531 THE SCULPTOR (National Gallery) This, one of the most haunting portraits of the whole Italian achieve-ment, was long supposed to be the portrait of Andrea Del Sarto himself.It displays the masters art in its most perfect form.
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OF PAINTING entrusted to him by the king for the purchase of works WHEREIN of art. THE RE- The genius of Andrea del Sarto must be judged by his NAISSANCE portraits; and so judged he stands amongst the great painters. * ™ ITALY But he can also take high place with his larger work. He PERISHES • • AMIDST was harassed by the neighbourhood of the vast genius of rttink Michelangelo ; in dreading comparison by the side of theother, he allowed his eyes to see, and his hand to create, theacademic thing;—instead of being content to be great andexpress himself, he compelled his hand to employ the brush,and his eyes to see through the vision first of Leonardo daVinci and then of Michelangelo—and the habit of apingthe grand manner grew upon him. Michelangelos mannerof drawing draperies compelled him to follow ; and hisefforts to rival their sculpturesque sense led him to thestatuesque posings which slowly overwhelmed the signifi-cance of his own vigorous hand and the reality of things a

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