A Short History of Italian Painting

By Alice Van Vechten Brown; William Rankin | Go to book overview
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WE find again, as so constantly in Italian art, that men of even third or fourth-rate quality, by virtue of the discipline in beauty which characterised the race, add to the sum total of our delight in Venetian painting. These painters are so numerous that it is impossible to do much more than mention a representative few.

The minor men of the High Renaissance fall naturally into several more or less closely related groups: 1. Those born but a few years later than Giorgione and Titian, practically contemporaries, sometimes directly influenced at first by the older generation, as Lotto, Cariani, and Pordenone; 2. Those a little younger, apparently starting out under the influence of Palma, or Giorgione, or Titian, as Bordone and Bonifazio; 3. and those coming still later, the pupils of Giorgione's or Titian's pupils, as Bassano; these also shared, of course, the general influence of Giorgione and Titian: how could it be otherwise when Titian outlived almost all of them? Between them are all shades of connection and influence, and there are also the divisions made between those in the direct stream, and those held back by provincial attachments, or diverted by various alien influences; the subdivisions are infinite.


Lotto, 1480-1556.1--One of the most interesting of the first group is Lorenzo Lotto, who belongs to the 16th century, but in whom the previous generation lingers, and it is not until his later work that he becomes important from a High Renaissance aspect. His early works place him among the followers of the Vivarini

See for full discussion Berenson exhaustive Lorenso Lotto. When Berenson called him a pupil of Alvise, op. cit., 80, critics were doubtful, but a connection between them is now generally considered probable.


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A Short History of Italian Painting
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