File:The Vienna galleries - giving a brief history of the public and private galleries of Vienna; with a critical description of the paintings therein contained (1912) (14803422173).jpg

Identifier: viennagalleriesg00prey (find matches)
Title: The Vienna galleries : giving a brief history of the public and private galleries of Vienna ; with a critical description of the paintings therein contained
Year: 1912 (1910s)
Authors: Preyer, David C. (David Charles), 1861-1913
Subjects: Painting
Publisher: Boston : St. Botolph Soc.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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ung women. Palmaobtained a characteristic individuality in these al-most ideal heads. Plate V presents one of these(No. 143), a lady with ash-blond hair, her volumi-nous dress of brownish striped stuff with a bro-caded front. Equally important is No. 137, theso-called Violante, who was a favoured modelof the day in Venice, as her features frequentlyoccur on the canvases of .both Palma and Titian.The face is delicately drawn, her complexion is ofdazzling purity, her eyes dark, and her flowing,wavy hair, confined by a narrow ribbon, is of thatpeculiar golden hue affected by the beautiful womenof Venice, and which Palmas brush was so skilfulin rendering. The other portraits are fully as in-teresting, with varying poses and colour schemes.Some of these, however, are much damaged byover-zealous cleaning, so that their beautiful glazesare for ever lost. Jacopo Palma Vecchio, signifying the old, orelder, to distinguish him from his grand-nephewof the same name, who is known as Palma Giovine,
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PALM AVECCHIO PORTRAIT OF A LADYPlate v Imperia,Museum XTbe flmperial ZlDuseum 45 or the younger, was born in Bergamo, but went toVenice when very young, and spent there the re-mainder of his life. With Titian he was a pupilof Giovanni Bellini, but his work bears strongerevidence of the influence of both Titian and Gior-gione, as well as of Lorenzo Lotto, whom he inturn influenced. Judicious criticism cannot place Palma beside thegiants of Venetian art, Giorgione, Titian, Tinto-retto, Veronese; although he did much to popu-larise the new thought in painting. This was,however, more as a follower than as an initiator.His landscapes are of an exquisite beauty, and aserene and cheerful, though never a very animated,spirit pervades his scenes. His drawing is, how-ever, less correct, as is especially seen when heessayed the nude, which was rarely the case. Still,his conception of the nude was quite as elevatedas with the greater masters. As a colourist Palmahas his own position. He laid his

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