File:The children's book of art (1909) (14782404465).jpg

Identifier: childrensbookofa00conw (find matches)
Title: The children's book of art
Year: 1909 (1900s)
Authors: Conway, Agnes Ethel Conway, Martin, Sir
Subjects: Art
Publisher: London : Adam and Charles Black
Contributing Library: University of British Columbia Library
Digitizing Sponsor: University of British Columbia Library

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e of sun-set grandeur in Venice. It is time to return to thenorth of Europe. In the next chapter we will tryto gain a few glimpses of the progress of painting inGermany, Holland, Flanders, and our own country. CHAPTER VIII THE RENAISSANCE IN THE NORTH The Renaissance involved a change of outlooktowards the whole world which could not longremain confined to Italy. There were then, asnow, roads over the passes of the Alps by whichmerchants and scholars were continually travellingfrom Italy through Germany and Flanders toEngland, communicating to the northern countrieswhatever changes of thought stirred in the south. In Germany, as in Italy, men speedily awoke tothe new life, but the awakening took a differentform. We find a different quality in the art ofthe north. Italian spontaneity and child-likejoy is absent; so, too, the sense of physical beauty,universal in Italy. You remember how thesuccessors of the Van Eycks in Flanders paintedexcellent portraits and small carefully studied 104
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St. George destroying the Dragon.From the picture by Tintoretto, in the National Gallery, London Page 100 THE RENAISSANCE IN THE NORTH 105 pictures of scriptural events in wonderful detail.They were a strictly practical people whose paint-ing of stuffs, furs, jewellery, and architecture wasmarvellously minute and veracious. But theywere not a handsome race, and their modelsfor saints and virgins seem to have been thepeople that came handiest and by no means thebest looking. Thus the figures in their pictureslack personal charm, though the painting is usuallyfull of vigour, truth, and skill. When Flemings began to make tours in Italyand saw the pictures of Raphael, in whom gracewas native, they fell in love with his work andreturned to Flanders to try and paint as he did.But to them grace was not God-given, and in theirattempt to achieve it, their pictures became senti-mental and postured, and the naive simplicity andeveryday truth, so attractive in the works of theearlier school, peri

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