File:Studies in pictures; an introduction to the famous galleries (1907) (14774033294).jpg

Identifier: studiesinpicture00vand (find matches)
Title: Studies in pictures; an introduction to the famous galleries
Year: 1907 (1900s)
Authors: Van Dyke, John Charles, 1856-1932
Subjects: Painting -- Study and teaching Painting
Publisher: New York : C. Scribner's sons
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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arypoint of view than art elsewhere? Not at all.Venice was below Florence in those qualities, butabove Florence in richness and splendor. Titian,Tintoretto, Paolo Veronese, Bordone, Tiepolo werethe greatest in decorative effect of all the Italianpainters. Line and form and light and color; gor-geous stuffs, rich robes, shining armor, gold andjewels, magnificent types, fine figures, noble land-scapes, lofty architecture—all things that Italy haddiscovered in nature and in art were blended atVenice. The final harmony of the Eenaissance wasreached there. And again it should be insisted uponthat the harmony was perhaps more material andpurely decorative than expressive or intellectual. It is perhaps unnecessary to point out this decora-tive aim in the works of Diirer, Holbein. Rubens,Pieter de Hooch, Velasquez, Watteau, Oainsbornugh.The filling of space with beautiful things, beautifullywrought, continued as a tradition even after the de-cline of the Eenaissance. True enough, spandrels,
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XIX.—VIVARINI, Altar-piece (detail). Venice Academy. WORKMANSHIP OF THE OLD MASTERS 65 lunettes, domes, and ceilings were no longer usedso extensively as a ground for decoration. The so-called easel picture came into vogue. Religiouspainting passed out in favor of portraiture, historicalpieces, and genre. But the subject has never at anytime changed the painters point of view; and as forthe space to be filled, whether it is a square of canvasin a gold frame or a triangle of wall, it has to betreated in the same decorative manner. That idea has always held in the studios. Pieterde Hoochs Dutch cavaliers, and Watteaus courtiersof the Eegency are primarily pegs upon which tohang gay color and warm light; and a Charles Iby Van Dyck, or a Mrs. Graham by Gainsbor-ough, though it represents an actual person, and isa true enough portrait, is also a panel of beautifullyarranged color and light-and-shade. A landscape byCorot, or an interior by Decamps deals with the sameproblem. An evening vi

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