Painting

BOTTICELLI

 

Never pretty, scarcely ever charming or even attractive; rarely correct in drawing, and seldom satisfactory in colour; in types, ill-favoured; in feeling acutely intense and even dolorous—what is it then that makes Sandro Botticelli so irresistible that nowadays we may have no alternative but to worship or abhor him? The secret is this, that in European painting there has never again been an artist so indifferent to representation and so intent upon presentation.

ALUNNO DI DOMENICO.

 

Descriptive name for Florentine painter whose real name appears to have been Bartolommeo di Giovanni. Flourished last two decades of fifteenth century. Assistant of Ghirlandajo; influenced by Amico di Sandro.

LORENZO DI CREDI.

 

1456-1537. Pupil of Verrocchio.

THE FISHERMAN PRESENTING THE RING TO THE DOGE GRADENIGO

 

(BORDONE)

THÉOPHILE GAUTIER

ADORATION OF THE MAGI

 

(GENTILE DA FABRIANO)

F.A. GRUYER

THE IMMACULATE CONCEPTION

 

(MURILLO)

AIMÉ GIRON

THE LAST SUPPER

 

(LEONARDO DA VINCI)

JOHANN WOLFGANG VON GOETHE

We will now turn to The Last Supper, which was painted on the wall of the refectory of St. Maria delle Gratie in Milan.

The place where this picture is painted must first be considered: for here the knowledge of this artist is focussed. Could anything more appropriate, or noble, be devised for a refectory than a parting meal which the whole world will reverence for ever?

THE BIRTH OF VENUS

 

(BOTTICELLI)

WALTER PATER

PORTRAIT OF GEORG GISZE

 

(HOLBEIN)

ANTONY VALABRÈGUE

ST. FRANCIS BEFORE THE SOLDAN

 

(GIOTTO)

JOHN RUSKIN

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