File:The study and criticism of Italian art (1916) (14757793866).jpg

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Identifier: gri_33125001581517 (find matches)
Title: The study and criticism of Italian art
Year: 1916 (1910s)
Authors: Berenson, Bernard, 1865-1959
Subjects: Art, Italian Painting, Italian
Publisher: London, G. Bell and sons, ltd.
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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every painstaking thought and laboured touch, some-thing vanished of the noble daring and fearless free-dom which inspired such a sketch as the Louvre Madonna, until at last there was left only themanifest intention of displaying science, skill, anddexterity. The autograph studies for the Last Supper areeither slight pen jottings not to the present purpose,or chalk drawings far more elaborated. They are notyet so worked up as to rival in tastelessness with oneor two overdone childrens heads at Oxford fromMichelangelos worst years, but they have lost enoughin freshness and sparkle to have created doubtsregarding the authenticity of some of them. Thefundamental faults, however, of this most famous 1 Reproduced, p. 79, G. Gronaus Leonardo (London,Duckworth). This inexpensive little book contains adequateillustrations of nearly all the other paintings and drawings men-tioned here. The text can be recommended as informing, appre-ciative, and free of humbug and re-echoing nonsense. LEONARDO
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(Loitvre, Paris. PEN DRAWING FOR A MADONNA PHM LEONARDO 29 of European paintings lie far deeper. On the illus-trative side they consist, as I said early in this essay,in what is, for us Northerners at least, a vice ofinterpretation; on the decorative side, for all thegenius displayed in the articulation of the groupingand the perfect accord of the rhythm, there are un-conquerable difficulties in the nature of the subject.For certain subjects are unfit for serious treatmentin the figure arts, and this happens to be one ofthem. It can be dealt with only as pure illustrationby candid souls like Fra Angelico and Sassetta, whodo not draw attention to the insoluble problems ofthe design. Leonardos intellectual pride, on thecontrary, was attracted by them, and the result is acomposition consisting entirely of figures ending atthe waist line, of torsoes with heads and arms butno abdomen and no legs. And in sober truth I comenearest to enjoying them as great art when I visualizethem as museum

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  • bookid:gri_33125001581517
  • bookyear:1916
  • bookdecade:1910
  • bookcentury:1900
  • bookauthor:Berenson__Bernard__1865_1959
  • booksubject:Art__Italian
  • booksubject:Painting__Italian
  • bookpublisher:London__G__Bell_and_sons__ltd_
  • bookcontributor:Getty_Research_Institute
  • booksponsor:Getty_Research_Institute
  • bookleafnumber:48
  • bookcollection:getty
  • bookcollection:americana
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29 July 2014
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