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The School Of Titian

The Art Of Painting - The School Of Titian - 4, a brief series of articles on the art of painting and drawing
 
 
The loading of pigment is reserved for draperies and accessories. It will be seen in the impastoed white cloth around the bronze vase, which is again warmed with asphaltum.
There are no signs of changes made, such as are evident in the small " Christ and Magdalene " picture by the same master ; and its absolute completeness and maturity more than justify the long and patient processes of its production.
Pilgrimages to this picture cannot be too frequent, for what the French call trouvaillesfresh finds—will reward each succeeding visit to it.
SEBASTIANO DEL PIOMBO
The Raising of Lazarus " appears to have been done in a similar method, except that the ground has little of Titian's solid light, and is by contrast a heavy chocolate colour. In exaggeration of one of the master's devices, everything has been sacrificed to the white of the draperies, by a too free use of asphaltum over most of its surface.
BASSANO
The student, when painting the nude from nature, should make an exhaustive study of " The Good Samaritan," one of the gems of our collection ; and remember in copying it that the
THE GOOD SAMARITAN, BY JACOPO DA PONTE
method is that of Titian, although the greys are somewhat cooler in Bassano's flesh. Nothing could be finer than the foreshortened torso, the modelling of the bent leg, the two heads, and the swing of the interwoven figures.


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