File:The Venetian School of Painting (1912) (14597540617).jpg

Identifier: venetianschoolof1912phil (find matches)
Title: The Venetian School of Painting
Year: 1912 (1910s)
Authors: Phillipps, Evelyn March, d. 1915
Subjects: Painting Painters
Publisher: London : Macmillan and Co., limited
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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in the Brera,and it is probable that one if not both mastershad been studying with the Umbrian andabsorbing the principles he had brought toVenice. It is easy to trace the influence ofGiovanni d Alemagna, though not alwayseasy to pick out which part of a picturebelongs to him and which to Antonio work-ing under his influence. In S. Pantaleone isa Coronation of the Virgin, with Gothicornaments such as are not found in purelyItalian art at this period, but the example inwhich both masters can be most closely followedis the great picture in the Academy, the^ Madonna enthroned, where she sits undera baldaquin surrounded by saints. Here theGothic surroundings become very florid, andhave a gingerbread-cake eff^ect, which Italiantaste would hardly have tolerated. Manyfeatures are characteristic of the German ; thehuge crown worn by the Mother, the floriatedornament of the quadrangle, the almost baroqueappearance of the throne. Through it all,heavily repainted as it is, shines the dawn of 30
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THE SCHOOL OF MURANO the tender expression which came into Venetianart with Gentile. Giovanni d Alemagna and Antonio da Muranowere no doubt widely employed, and when theformer died Antonio founded and carried on areal school in Venice. In 1446 he was living inthe parish of S. Maria Formosa with his wife,who was the daughter of a fruit merchant, andthe wills of both are still preserved in the parisharchives. Gentile da Fabriano had set theexample for gorgeous processions with gay dressesand strange animals ; winding paths in the back-ground and foreshortened limbs prove that atten-tion had been drawn to Paolo Uccellos studiesin perspective, while many figures and horsesrecall Pisanello. A striking proof of the sojournof Gentile and Pisanello in Venice is found inan Adoration of Magi, now ascribed toAntonio da Murano, in which the central group,the oldest king kissing the Childs foot, is verylike that in Gentiles Adoration, but the fore-shortened horses and the attendants argue thepaint

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