On this page
-
Text (1)
-
174 GALLERY OF ILLUSTRIOUS ITALIAN WOMEN...
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.
-
-
Transcript
-
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.
Additionally, when viewing full transcripts, extracted text may not be in the same order as the original document.
Ii.—Female Artists. By An Italian.
modern times , t ] ie otlier details of her pictures would liave been chasteness teenth equally century perfect of outline , . called ( 25 ) modern that But scrupulous -what style Stanzioni , we correctness call , decay who . wrote of In drawing his in the view , seven -which , that - _,
, are among the merits of the Raphael school , are mere poverty . Mariangiola Criscuolo was born in Naples in 1548 ; was married to
Antonio d' Amato _, and , surviving him , she devoted herself entirely to the care of her children , and died at an advanced age .
Teodora Danti of Perugina belonged to the Roman school , and painted several pictures of interiors after the style of Perugino .
Although far inferior to her master , we note much grace in the heads of her fiespecially of young men and women ; a merit
in which Pietro gures Perug , ino excelled all his competitors . There is great ease of action and freshness of color , but at the same time , a
certain dryness in the figures and a poverty in the drapery . These are the contributions made by the female sex in Italy , to
on art , which during as the we rei have gn of said the , Rap Christian hael and ideal Michel , the Angelo luminous set period their
seal . Thi , s ideal was exhausted by those great works , the Transfigurationand the frescoes in the Sistine Chapel . The one
, represents the Beautiful , the other the Sublime , and no one can hope ever to excelor even to equal them . . We do not say that no artist
can ever arise , as mighty as these two giants , for we believe the developments of art to be inexhaustible . We simply mean that the
Christian ideal was a luminary which set with them , and their successors must seek out another , since without an ideal there can
be no true art , any more than there can be a true literature , or a true hilosophy . ( 26 ) From their time to the present , art has been
in a transition p state , commencing with the splendid ecclecticism of the Carraci and the Campi , followed by the naturalism of Caravaggio ;
. was ~ b y the the mannerism first to link of Cortona history , with who aimed mythology at scenic ; and decoration finally by and the
slovenly ecclecticism of Battoni , who died in 1787 , and so on down to our own time .
There is a notable difference , however , between the ecclecticism of the Carraci and their followersand that of the Campi . The
, former did not confine themselves to the imitation of great masters , seeking out what had been considered best , and constructing out of
the fragments a new work of _arfc Far from this , they added to all ( 25 } De Dominici . —Artisti which Napolitani . have Yol . II ., p with . 348 .
reli ( 26 gion ) The , became Christian in the ideal sixteenth , century , works as we , a derision seen often . mistaken Vecchi _Fra'Angeli a , for for instance po those , was of a ,
the Pordenone an artist style of so , Giorg Callot celebrated ione , so , that and , that it Titian is his also inrpossible , caricatured noted are for artist the the most Passion _ainted serious the of Christ spectator , after to
nude hel John Madonna p laug figure the hing Bap del , in tist . Gatto the Pietro is church in tantalizing the Liberi of National , S . a Caterin cat a G with allery a , in a , Yicenza in bird which , , _j > while . , as So Wagen the with Yirgin Deity Baroccio observes as and ' a s , the cruel
Jesus look on greatly amused by sport .
174 Gallery Of Illustrious Italian Women...
174 GALLERY OF ILLUSTRIOUS ITALIAN WOMEN .
-
-
Citation
-
English Woman’s Journal (1858-1864), Nov. 1, 1858, page 174, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/ewj/issues/ewj_01111858/page/30/
-