File:The midsummer of Italian art (1911) (14802742833).jpg

Identifier: midsummerofitali00stea (find matches)
Title: The midsummer of Italian art
Year: 1911 (1910s)
Authors: Stearns, Frank Preston, 1846-1917
Subjects:
Publisher: Boston, R.G. Badger, Gorham Press
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
eopled with beings like himself;where all was love, innocence, and purity. Hissaints float upon clouds, in which cherubs play hide-and-seek. Such creations would not stand the testof practical life, and yet we contemplate them withprofound respect. His coloring corresponds to this. It is not thecoloring of real life, but of an imaginary existence.His tints are not those of earth, but of the sky ; andwhen Tintoretto painted San Rocco in Heaven, headopted Correggios coloring as the most suitablefor his subject. Many of his paintings resemblesunsets; some with a warm central glow of light,and others gorgeous with bright prismatic hues.Yet they are never too highly colored for a refinedtaste, and though we may become tired of their re-fulgence as we do of long-continued sunshine, weenjoy seeing them again after a brief interval. Cor-reggios reflections of light are the most interestingpart of his coloring to a connoisseur, and give allhis pictures a technical value quite distinct from the
Text Appearing After Image:
Correggio. 2 79 quality of their design. His lo in the Berlin museumshows that he could give color even to darkness andmake it pleasant and attractive. He was not one of the greatest masters of thepencil, but his drawing is good; I should say fullyequal to Titians. His lines are pure, simple, andgraceful, and he understood how to give ideality toform. The arms of his Diana vie with those ofTintorettos Ariadne, and yet in shape they arequite different. The arms of the Diana are themore finely modelled of the two. The nude figuresof his saints likewise have a style peculiarly theirown: rounded shoulders, with a round, compactbody, and limbs not too muscular—an admirablestyle. There is a lack of variety among them, butthat is atoned for by the attitudes, of which Cor-reggio always had a store at his command. Whenhis drawing does not appear to advantage the faultis always with the attitude and not from incorrectoutlines. Some of his postures are eccentric enough.In his children, and esp

Note About Images