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GALLERY OE ILLUSTRIOUS ITALIAN WOMEN. 17...
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Ii.—Female Artists. By An Italian.
the tion harmony and unity of to tint a _Imndred , and the figures life- , like tlie attitudes difficult his , art in of ictures which foreshortening Tintoretto d 1 ,
was the first of artists . She copied some of p , anany one who can do this 3 nmy , without vanity say , " I too am an artist . " She did not , however , note in some of his works , the negligent
drawing of the drapery , the too heavy shadows , and the predominance of grey Marietta tint , which was also spoils famous some as of a his portrait Ibest effects painter . ; she painted Marco
dei Vescovi , and his son Pietro , which are still preserved in the family of the Tintoretti . She painted many other Venetians , but her
most successful works are the portraits of Jacopo Strada—the Emperor Maximilian ' s antiquarian—and her own , both of which the
wi Emperor shed her kept to be in his the own artist chamber of his . court So . well Phili pleased II . was of S he ain that and he p p ,
the Archduke Ferdinand , sought her services in the same capacity , but her father preferred to marry her to a Venetian jeweller ,
Marco Augusta , that he might retain her near himself . Marietta of comp her leted husband several ' s friends original . desi Some gns , of and these drew works the portraits Bidolfi mentions of many
as having seen , ( 24 ) but many of them are lost . It was not for long , howeverthat Tintoretto was permitted to enjoy the progress of his
daughter , in art , and to rejoice in being the father of the most beautiful of women . She died in 1590 , aged thirty , and was buried
in the Church of S . Maria dell' Orto . The Neapolitan school , though rich in artists , cannot be compared
with any of those we have mentioned . From the first , its tendency was towards ecclecticismwhich perhaps "was partly owing to the
various styles brought from , other parts of Italy , partly to the number of Neapolitan artists who travelled to improve their knowledge of art .
But this ecclecticism is very different from that of the Caracci _, because the Neapolitan school , even down to the time of Spagnoletto ,
retained the sentiment of the ideal . The most celebrated masters who worked in Naples , and have there left traces of themselves ,
were Tommaso de Stefani , a contemporary of Cirnabue , Giotto , and in the fifteenth century , Zingaro and Antonello of Messina . In the
sixteenth century , Raphael's style was followed by Andrea di Salerno , Mariangxola Criscuolo and by P , olidoro a follower Her ; Michel Ascension of Hap Angelo hael of ' , s the was by Virg Marco the in father da surrounded Siena and . master Fili by ppo the of
. , Apostles , in the church of S . Giuseppe Maggiore in Naples , is decidedlHaphaelesque . She ainted another Madonna in the
church of y Jesu o Mariaand a third p with the Child Jesus ; as also a number in S . Maria Nuova , , painted with wonderful freshness of
color . Her best works are a Descent from the Cross , in S . Severino , and the Madonna with the Child , in S . Maria Nuova . Massimo
Stanzioni ( himself no mean artist ) notices the freshness of color , especially in the flesh tints , and says that if she had lived in
( 24 ) Le mcraviglie dell' arte . Vol . II ., p . 259 .
Gallery Oe Illustrious Italian Women. 17...
GALLERY OE ILLUSTRIOUS ITALIAN WOMEN . 173
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Citation
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English Woman’s Journal (1858-1864), Nov. 1, 1858, page 173, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/ewj/issues/ewj_01111858/page/29/
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