By John C. van Dyke
John Charles van Dyke (1856-1932) was once an American paintings historian and critic. He was once born at New Brunswick, N. J., studied at Columbia, and for a few years in Europe. together with his publication chronicling the background of portray from cave work to the fashionable period. absolutely illustrated.
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John Charles van Dyke (1856-1932) was once an American paintings historian and critic. He used to be born at New Brunswick, N. J. , studied at Columbia, and for a few years in Europe. along with his e-book chronicling the heritage of portray from cave work to the fashionable period. absolutely illustrated.
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Additional resources for A Text-Book of the History of Painting (Illustrated Edition)
In that way the Ferrarese school became somewhat complicated with the Bolognese school, and is confused in its history to this day. Costa was not unlikely the real founder, or, at the least, the strongest influencer of the Bolognese school. He was a painter of a rugged, manly type, afterward tempered by Southern influences to softness and sentiment. This was the result of Paduan methods meeting at Bologna with Umbrian sentiment. FIG. —PERUGINO. MADONNA, SAINTS, AND ANGELS. LOUVRE. The Perugino type and influence had found its way to Bologna, and showed in the work of Francia (1450-1518), a contemporary and fellow-worker with Costa.
The first real successor of Masaccio was his contemporary, and possibly his pupil, the monk Fra Filippo Lippi (1406-1469). He was a master of color and light-and-shade for his time, though in composition and command of line he did not reach up to Masaccio. He was among the first of the painters to take the individual faces of those about him as models for his sacred characters, and clothe them in contemporary costume. Piety is not very pronounced in any of his works, though he is not without imagination and feeling, and there is in his women a charm of sweetness.
Milan, Carmine Brescia, panels Brera Milan; Borgognone, altar-pieces Certosa of Pavia, Church of Melegnano, S. , Brera Milan, Nat. Gal. Lon. com CHAPTER VII. ITALIAN PAINTING. EARLY RENAISSANCE—1400-1500—CONTINUED. ) PADUAN SCHOOL: It was at Padua in the north that the influence of the classic marbles made itself strongly apparent. Umbria remained true to the religious sentiment, Florence engaged itself largely with nature study and technical problems, introducing here and there draperies and poses that showed knowledge of ancient sculpture, but at Padua much of the classic in drapery, figures, and architecture seems to have been taken directly from the rediscovered antique or the modern bronze.