File:The study and criticism of Italian art - second series (1902) (14765911041).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

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istanceto the landscape and sky which rise and spreadaround the figures. We should search in vain amongearlier pictures for effects of space comparable tothis; and, even among those who, in later times,have been the greatest masters of space-composition—Perugino, Raphael, Poussin, Claude Lorrain andTurner—very few have equalled, and almost nonehave surpassed this achievement of Baldovinetti. In 1463 Alessio composed a cartoon for a Nativity,which was faithfully copied in intarsia by Giuliano daMaiano, for the Sacristy of the Florence Cathedral,where it is still to be seen. The composition closelyresembles that of the preceding fresco. In 1467 our artist decorated al fresco the interiorof a Holy Sepulchre in the Chapel of the Rucellaifamily; the painting represents Christ rising fromthe tomb, between two adoring angels. This im-portant work still exists, and merits more attentionthan it has received. Signor Cavalcaselle does not rjititf.:* Wr)iiiiillfe. ;^G-*n. ALESSIO BALDOVINETTI
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(Uffizi, Florence. THE MADONNA AND CHILDDETAIL OF AN ALTAR-PIECE ALESSIO BALDOVINETTI • I ■ Kl • WM •? J V *r -** L. 1 ■ w r & I^Hk^ Ik ^ s ^ 3& -.-j»>_ , - *fe . ^1 W^-^» 1^ I I $*. (Louvre, Paris. THE MADONNA AND CHILD ■V ALESSIO BALDOVINETTI 27 speak of it in his monumental work ; nor is it men-tioned by recent writers, so far as I am aware. Thecolour is well preserved, and is of a splendour whichwe are not accustomed to associate with Florentineart, for the brocades rival the gorgeousness of Cri-vellis or Matteo di Giovannis. But the types areinferior; one would say that the painter took nointerest in anything except the garments. The lack of regard for beauty, joined to a toogreat preoccupation with the problems of execution,technique and science, appears still more clearly inan altar-piece from S. Trinita, now in the FlorenceAcademy, which was finished in February, 1472.This picture represents the Trinity, with cherubsand kneeling saints. The parts where

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