A Short History of Italian Painting

By Alice Van Vechten Brown; William Rankin | Go to book overview

must be disengaged; this can generally be done. In his sensitiveness, his poetry, his largeness of spirit, he has no real rival.


SEBASTIANO DEL PIOMBO
c. 1485-1547

The most important follower of Giorgione was Sebastiano del Piombo, a distinctly independent genius. Thoroughly Venetian, distinctly sympathetic with Giorgone, he drifted to Rome about 1510, while M. Angelo was painting in the Sistine Chapel, and became one of the most loyal friends of the great painter throughout his life. Del Piombo's late work shows the mingling of these two influences, and yet he always retains his personal outlook, his passionate feeling, his realism modified by a dramatic intention. He misses the sheer concentration and direct vision of the highest genius, but he is one of the greatest of secondary minds.

The influence of Giorgione is clear in the Santa Conversazione ( S. Giovanni Crisostomo, Venice), genial, real, yet beautiful as pure design. All of Piombo's early work is Giorgionesque. It is more reposeful and beautiful than afterwards. His later pictures, in comparison with early work, seem forced and rhetorical, as the Resurrection of Lazarus ( London), but he always remains high-minded and really noble, and the extraordinary Pietà (Viterbo), and several glorious portraits,1 as the Doge Andrea Doria ( Rome) are concentrated examples of his genius.


TITIAN2
1477-1576

Turning from Giorgione to Titian we meet a contrasting nature and contrasting conditions. Giorgione's genius, compressed into a few years, makes an epoch; Titian's grows slowly into leadership throughout a century.

____________________
1
Of heroic build and expression, due especially to Michelangelo; but Vasari's view that Michelangelo furnished him with designs seems like gossip. His colour and technique gave suggestions to Raphael; in composition he learned from Raphael; his Fornarina, 1512, Uffizi, was attributed to Raphael. Cf. Raphael Castiglione, Louvre, with any portrait of del Piombo's earliest style, eg. the Fornarina, Uffizi.
2
See Titian, by Gronau; also Claude Phillips.

-269-

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A Short History of Italian Painting
Table of contents

Table of contents

  • Title Page iii
  • Preface v
  • Contents vii
  • List of Illustrations xiii
  • Note on Technical Terms xvii
  • List of Abbreviations xix
  • Part I - The Mediæval Period and Proto-Renaissance 1
  • Mediæval 3
  • Proto-Renaissance 9
  • Siena to 1400 18
  • The School of Simone Martini 26
  • Forence to 1400 40
  • Early North Italy 71
  • Early Umbria 83
  • Giovanni and Antonio of Murano 97
  • Part II - The Early Renaissance in Florence and Central Italy 99
  • Masolino and Masaccio 101
  • Fra Angelico 110
  • Other Fifteenth-Century Florentines 116
  • The Umbro-Florentines 139
  • Siena from About 1400 to 1500 148
  • Renaissance Umbria 153
  • Part III - The Early Renaissance in Padua and Venice and Renaissance North Italy 165
  • Squarcione 1394-1474 167
  • Antonello Da Messina C. 1430-1479 168
  • Carlo Crivelli - 1440?-After 1493 169
  • Renaissance North Italy 198
  • Part IV - The Florentine High Renaissance and Raphael 209
  • Leonardo Da Vinci - 1452-1519 211
  • Lesser High Renaissance Painters 225
  • Michelangelo - 1475-1564 234
  • Raphael Sanzio - 1483-1520 and Followers 246
  • Part V - High Renaissance Venice 261
  • Jacopo Palma Vecchio - 1480 263
  • Giorgione 264
  • Sebastiano Del Piombo - C. 1485-1547 269
  • Tintoretto and Veronese 278
  • I Tintoretto - 1518-1592 279
  • Paolo Veronese - 1528-1588 286
  • Minor Followers of Giorgione and Titian 289
  • Part VI - North Italy in the High Renaissance 297
  • High Renaissance North Italy 299
  • Minor High Renaissance Painters of North Italy 305
  • Rome, Naples, Sicily 311
  • The Late Renaissance and Baroque 313
  • Index to Artists and Paintings Mentioned 337
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