File:The study and criticism of Italian art (1916) (14800725603).jpg

Identifier: gri_33125001581517 (find matches)
Title: The study and criticism of Italian art
Year: 1916 (1910s)
Authors: Berenson, Bernard, 1865-1959
Subjects: Art, Italian Painting, Italian
Publisher: London, G. Bell and sons, ltd.
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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affects rich stuffs as well, and Irecollect one instance where he has a thumb pushedback as Antonello has it.1 All of which meanssimply that Boccaccino was well acquainted witheither our Madonna or another very much likeit. In their intimate nature, however, there is no-thing in common between his art and that revealedin the picture at Vienna. Ten years ago, when I ventured upon the guessthat he might have painted this work, the Pseudo-Boccaccino was an artistic personality that seemed tohold out promise. I had not seen the Vienna picturefor many years, and did not even possess a repro-duction of it. In the light, however, of all that wehave learned since about Giovanni Agostino da Lodi(the real name of the Pseudo-Boccaccino), the 1 It occurs in a Madonna in the collection of the late Theo.M. Davis which bears a more than accidental resemblance to theupper part of the Antonellesque Madonna in the Syracusecathedral referred to a page or two ago (Photo Alinari 33342). MARCELLO FOGOLINO
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(The Hague MADONNA AND SAINTS AND ANTONELLOS ALTAR-PIECE 113 attribution to him of such a masterpiece has be-come little less than absurd, despite the justificationoffered by certain Antonellesque details of arrange-ment and folds in such typical works in and nearVenice as the Youthful Christ between two Apos-tles of the Academy, the Marriage of St. Catherineat S. Stefano, and the altar-piece at S. Pietro inMurano. These in their turn do in fact indicate thattheir author was acquainted with our Madonna oranother almost identical with it, but give ground forno further inference than that. Professor Adolfo Venturis attributionx to MarcelloFogolino, the puffy, empty, crude provincial, wouldbe quite unintelligible but for the probability thatthe critic was subconsciously influenced by the Ben-son Madonna, which used to pass as Fogolinos(although by Antonello, as I am convinced), andalso for the fact that the same Fogolino all but copiedour Madonna in his Hague altar-piece. I get theimpres

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