File:The study and criticism of Italian art - second series (1902) (14582610247).jpg

Identifier: gri_33125001807748 (find matches)
Title: The study and criticism of Italian art : second series
Year: 1902 (1900s)
Authors: Berenson, Bernard, 1865-1959
Subjects: Art, Italian Painting, Italian
Publisher: London : G. Bell and sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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:
figures on his right, is even remoter fromPerugino than are the two heads. Not only is theline inconceivably feeble, producing at times scarcelythe effect of free-hand drawing, but the hatching isdenser and minuter than it ever is in Perugino.That here again we encounter Lo Spagna, we seefrom such characteristic traits as the concavethumbs, the straight line for Josephs sleeve (cf. theUffizi cartoon for the Christ in the National Gallery Agony in the Garden), and the extremely broadface of the youth, which resembles one of the youthsin the Albertina drawing (Sc. Rom., 39). Thefourth of the sketches in question, is one in silver-point heightened with white, in the Malcolm Collec-tion at the British Museum (No. 156, photo. Braun, Beaux Arts, 98). Less, even, than in the otherscan there be question here of Peruginos authorship.It represents the three central figures, and is of sucha poverty as draughtsmanship, and so exaggeratedlyLo Spagnesque, that I question whether it is not LO SPAGNA
Text Appearing After Image:
(Brunswick Museum.SKETCH FOR FIGURES IN THE CAEN SPOSALIZIO THE CAEN SPOSALIZIO 13 perhaps a copy after the picture by Lo Spagnas well-known assistant and follower, Jacopo Siculo. Atall events, not one of these four drawings corrobo-rates the attribution of the picture to Perugino. Ill We have now adduced proof to demonstrate thatthe Sposalizio of Caen, inasmuch as it showsgreater affinities with Pinturicchio and Raphael thanwith Perugino, cannot have been executed, or evendesigned, by the latter. We have also pointed outthat the distinctive characteristics of this work are inperfect agreement with the manner of Lo Spagna.In speaking of his altar-piece at Perugia, Cavalca-selle says that it shows a very judicious combinationof elements borrowed from Raphael, from Perugino,and from Pinturicchio. We who have made, on ourside, an analysis of the Sposalizio, know to whatdegree its author shows precisely these aptitudes forassimilating impressions, and we do not hesitate topronounce that t

Note About Images