DOCSLIB.ORG

Das Werk Der Dossi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Das Werk Der Dossi ?;lM»i!;li5i^^lii[l^El^;J!M .15 : H.MENDELSOHN / DAS WERK DER DOSSI 2 O w Z w m Ü ci o <j cn o Q O iiL^ HENRIETTE MENDELSOHN DAS WERK DER DOSSI MIT FÜNFUNDSECHZIG ABBILDUNGEN MÜNCHEN GEORG MÜLLER ® EUGEN RENTSCH VERLAG 19 14 Ab EINBANDZEICHNUNG \'ON PAUL RENNER COPYRIGHT 1913 By GEORG MÜLLER 'S) EUGEN RENTSCH IN MÜNCHEN An meinen Leser ein unzeitgemäßes Vorwort Kunstwissenschaftliche Bücher werden heute meist durchblättert, kaum gelesen. Trotz dieser Wahrnehmung habe ich bei der Gestaltung des Buches noch ganz altmodisch an einen Leser gedacht. Dich, den unbe- kannten Freund meiner jahrelangen Arbeit, will ich in den Gang der Forschung selbst einführen. Im ersten Kapitel geleite ich dich auf einen Berg voll Literatur: alle wesentlichen Werke sind hier versammelt, denen wir die ,, Kenntnis der Dossi" verdanken. Als Aussicht breitet sich die Schätzung der Dossi während fünf Jahrhunderte vor dir aus. Das Kapitel ,, Sichere Tatsachen" fischt aus dem Meer der Überlieferung den festen Bestand heraus, auf dem das Leben und ^^'irken der Brüder sich aufbaut. Der Prüfung des Wortes folgt die Prüfung des Werkes. ,,Stil und künstle- rische Gepflogenheiten" legen auf Grund der den Dossi allgemein zuer- kannten Bilder die künstlerische Eigenart der beiden Brüder fest. Das Ergebnis aller Kritik und Sichtung findet der Leser im vierten Kapitel in der ,, künstlerischen Entwicklung der Brüder". Im zweiten Teil, dem beschreibenden und kritischen Verzeichnis der Werke, wird mir der Leser wohl kaum mehr Schritt für Schritt folgen. Zwar habe ich auch hier an ihn und eine zusammenhängende Fassung des Ganzen gedacht. Im Einzelnen versuchte ich in die Bildbeschreibung, wo es anging, etwas von der Stimmung hinüberzuretten, die ein großes Kunst- werk aushaucht. Aber auch dem Gelehrten wollte ich ein nützliches Nach- schlagebuch geben: für ihn rückte ich den ,, Bildbefund" und die neuere Literatur unter jeden Bildtitel. Den Leser aber lade ich schließlich noch einmal nach der langen ^^'anderung zu einer letzten Umschau in dem Kapitel ,,Die künstlerische Bedeutung der Brüder" ein. Ein Maler wie Dosso, dessen Werke noch heute zum Teil mit Giorgione und Tizian ver- wechselt werden, lohnt für jeden die Betrachtung; den etwas langweiligen Bruder mußt du in den Kauf nehmen. Dosso entschädigt dich durch Humor und Phantasie, durch seine Glutfarben und seine glänzende Tech- nik. Du lernst in ihm einen der führenden Meister auf dem Gebiete der Landschaftsmalerei und des Genre kennen. Beide Brüder sind wichtige kulturgeschichtliche Vertreter der Glanzzeit Ferraras, die Lieblinge ihres Herzogs Alfons' L und hochgefeiert von ihrem Zeitgenossen und Lands- mann Ariost. Ein ^'or\vort bedeutet für den Schreiber zugleich einen Rückblick, ein dankbares Erinnern aller der Institute und Privatpersonen, deren freund- liches Entgegenkommen dieses Werk gefördert hat. Nicht alle kann ich mit Namen erwähnen. Nur derer möchte ich besonders gedenken, die mir wiederholt in liebenswürdigster Weise gefällig gewesen sind: der Herzogin von Northumberland, Venturis, Phillips, Berensons. Berlin, September 1913. Henriette Mendelsohn VI — liNHALT Seite AN MEINEN LESER. Ein unzeitgemäßes Vorwort V ABKÜRZUNGEN XI EINFÜHRUNG i Alte Quellen und neue Forschung i Sichere Tatsachen 6 Stil und künstlerische Gepflogenheiten 20 Die künstlerische Entwicklung der Brüder 27 DIE WERKE DOSSOS 39 Aus der Frühzeit. Etwa 1505 —1512 39 Pietä. London, Sammlung Philipps 39. — Madonna. Rom, Gal- leria Borghese (211) 41. — Ruhe auf der Flucht. Palazzo Pitti (487) 42. — Der heilige Hieronymus. Wien, Kais. Gemäldegalerie (68) 43 Zeit der ersten Meisterwerke. Etwa 1512— 1520 47 Altarbilder 47 Die Vision der vier Kirchenväter. Dresden, Gemäldegalerie (129) 47. — Der heilige Sebastian. Mailand, Brera (433) 50 Kleinere Hausandachtsbilder und ähnliche Stücke . 52 Geburt Christi. Rom, Galleria Borghese (222) 52. — Madonna mit Heiligen und Stifterin. Budapest, Sammlung von Terey 53. — Heilige Familie. Berlin, Kaiser-Friedrich-Museum (227) 55. — Johannes der Täufer. Florenz, Galleria Pitti (380) 57 Die Bilder im engsten x\nschluß an Giorgione 58 Kopf eines Kriegers. Braunschweig, Gemäldegalerie (454) 58. — Kopf eines Jünglings. Budapest, Gemäldegalerie (161) 59. — Bildnis eines Narren. Modena, R. Galleria (474) 60. — Nymphe von einem Satyr verfolgt. Florenz, Galleria Pitti (147) ... 61 Zauberin und Seherin 64 Circe. London, Sammlung Benson 64. — Sybille. London, Sammlung Phillips 66. — Circe. Rom, Galleria Borghese 217 67. — Heilige Familie. Rom, Galerie des Kapitols (80) 69. Halbfigur einer Sibylle. Petersburg, Eremitage (403) .... 70 VII Seite Ein Landschaftsbild dieser Periode 72 Landschaft mit Figuren, ehemals Ehrich, Newyork 72 Darstellungen aus der Antike 72 Apollo und Daphne. Rom, Galleria Borghese (i) 72. — Jupiter und die Tugend. \Men, Sammlung Lanckoronski 74 Das dritte Jahrzehnt 76 Altarbilder 76 Das Altarbild im Dom zu ]\Iodena jj. — Das Altarbild aus dem Dom zu Codigoro. Florenz, Palazzo Pitti 78. — Johannes der Evangelist und San Bartolomäus. Rom, Sammlung Chigi 80. — Madonna mit dem Heiligen Georg und Michael. Modena, R. Galleria (437) 83 Genre und Dekoration 85 Die 5 Dreifigurenbilder. Modena, R. Galleria (190, 197, 198, 367, 368) 85. — Pianto, Riso, Ira. Alnwick Castle, Duke of Northum- berland 91. — David mit dem Haupte Goliaths. Rom, Galleria Borghese (181) 92. — Saul und David. Stuttgart, Museum (454) 93. — Dichter und Muse. London, National Gallery (1234) 95- — Dido. Galleria Doria (411) 96. — Der heilige Wilhelm. Hampton- Court (128) 97 Bildnisse 99 ]\lännerbildnis mit schwarzer Kappe. Hampton-Court (80) 99. — Bildnis Herkules L Modena, R. Galleria (471) 100 Späte Werke 102 Altarbilder 102 Die Vision der vier Kirchenväter. Dresden, Kgl. Gemäldegalerie (128) 102. — Die sechsteilige Ancona. Ferrara Ateneo (45) 104. — Die Disputation im Tempel. Kopie nach dem verlorenen Original Dossos im Dom von Faenza 107. — Köpfe der Maria und eines Pharisäers. Bruchstücke von dem Original der Dis- putation im Tempel. Faenza, Museo civico iio. — Anbetung der Könige. London, Sammlung Mond iio. — Heilige Familie. Hampton-Court (97) 112 Genre, Dekoration und Bildnis 114 Bambocciata. Galleria Pitti {148) 114. — Der heilige Michael. Dresden, Gemäldegalerie (125) 115. — Bildnis des venezianischen Admirals Giovanni Moro. Berlin, Kaiser-Friedrich-Museum (161) 118 VIII Seite Ein nicht sicher zu datierendes Bild Dossos. S. Cosmos und S. Damian. Rom, Galleria Borghese (22) . .119 Unsichere Werke Dossos 120 Amsterdam, Sammlung Lanz. Ceres ? 120. — Amsterdam, Samm- lung Lanz. Lunette mit Putten 121. — Dresden, Königl. Ge- mäldegalerie (155). Bildnis eines Gelehrten 122. — Frankfurt, Städelsches Museum (49 A). Kopf eines bartlosen Mannes 122. — Liverpool, Walkers Art Gallery (82). Bildnis des Guidobaldo Montefeltro, Herzogs von Urbino 123. — London, Sammlung Holroyd. Brustbild eines Mannes 124. — Modena, R. Galleria (450). Bildnis Alfons' L 125. — München, Julius Böhler. Männer- bildnis 130. — Philadelphia, Sammlung Johnson. Männliches Bildnis 130. — Rom, Galleria Doria (170). Bildnis des Pronotars Girolamo Beltramoti 131 DIE WERKE BATTISTAS 133 Werke. "\'ermutlich vor 1520 entstanden 133 Orlandos Kampf mit Rodomonte. London, Sammlung Brown- low 133. — Flucht nach Ägypten. Schloß Seußlitz bei Dresden, Sammlung Harck 134. — Johannes auf Patmos. Ferrara Ateneo 136. — Callisto(?). Rom, Galleria Borghese (304) 137 Reifere und späte Werke 140 Mythologische und allegorische Bilder 140 Mythologisches Bild, London, Sammlung Northampton 140. — Psyche in den Olymp getragen. Rom, Galleria Borghese (184) 142. — Mythologisches Bild. London, Sammlung Donaldson 142. — Ein Traum. Dresden, Gemäldegalerie (131) 144. — Höre mit Apollos Gespann. Dresden, Gemäldegalerie (136) . 145 Altarbilder 145 Dreiteiliges Altarbild. Rovigo, Galleria communale 145. — Ma- donna mit Hieronymus und Johannes. Portomaggiore, Muni- cipio 147. — Mer Kirchenväter. Berlin, Kaiser-Friedrich-Museum (264) 149 Kleine heilige Familien und Anbetungen des Kindes . 150 Heilige Familie. Rom, Galleria Borghese (245) 150. — Heilige Familie. Oldenburg, Augusteum (5) 151. — Madonna mit Hei- ligen. Bergamo, Galleria Lochis (218) 153. — Madonna mit Chri- stuskind und Johannisknaben. Neapel, Museum (170) 154. — IX Seite Anbetung des Kindes. Rom, Galleria Borghese (215) 155. — An- betung des Kindes. \\'ien, Sammlung Czernin 155 Datierbare Werke der Spätzeit 156 Geburt Christi. Modena, R. Galleria (440) 156. — Der heilige Michael. Parma, Galerie 159. — Der heilige Georg. Dresden, Gemäldegalerie (124) 162. — Gerechtigkeit. Dresden, Gemälde- galerie (126) 164. — Frieden. Dresden, Gemäldegalerie (127) . 165 Herkules und die Pygmäen. Graz, Landesgalerie (96) 166. — Francesco d'Este als heiliger Georg und Johannes der Täufer. Mailand, Brera (431 und 432) 167. — Die Teppiche 168 Unsichere Stücke 170 Bildnis eines Kriegers. Florenz, Ulfizien (627) 170. — Madonna della Neve. Modena, R. Galleria (446) 171. — Die Landschaft auf Raffaels Madonna von Foligno 172 DIE FRESKENZYKLEN DER BRÜDER 172 Die Fresken im Castello del Buon Consiglio zu Trient . 173 Die Fresken in der Villa Imperiale bei Pesaro 178 SCHLUSSBETRACHTUNG. DIE KÜNSTLERISCHE BEDEU- TUNG DER BRÜDER 184 Anhang 189 Werke, welche die Verfasserin den Dossi abspricht. 189 Zeichnungen I95 ANMERKUNGEN 197 URKUNDEN 207 VERZEICHNISSE 209 Verzeichnis der urkundlich gesicherten wichtigeren Daten über Leben und Werke der Brüder 209 Verzeichnis einiger mir unbekannt gebliebener Stücke 214 REGISTER 216 Verzeichnis der in diesem Buche erwähnten
Load more

Recommended publications
  • Cna85b2317313.Pdf
    THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him.
    [Show full text]
  • The History of Painting in Italy, from the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
    THE HISTORY OF PAINTING IN ITALY, FROM THE PERIOD OF THE REVIVAL OF THE FINE ARTS, TO THE END OF THE EIGHTEENTH CENTURY: TRANSLATED gmn tj)e O^rtgtnal Btaltan OF THE ABATE LUIGI I.ANZI. By THOMAS ROSCOE. IN SIX VOLUMES. VOL. VI. CONTAINING THE INDEXES. LONDON: PKINTED FOR W. SIMPKIN AND R. MARSHALL, STATIONERS'-HALL COURT, LUDGATE STREET. 1828. ND }. IVl'Cieery, Tooks Court, Cliancery-Iane, Londou. J. PAUL GETTY MUSEUM UBRABX CONTENTS OF THE SIXTH VOLUME. Page Index I. Professors of Painting mentioned in the 1 worJc ; together with the dates, 8fc. ... Index II. Historical and Critical Publications re- lating to the Art, cited in the Work . .167 Index III. Of some of the most important Matters contained in the Work 197 that ** ^''itft regard to the Abbreviations of words adapted in the above Indexes, to dates birth, and that d. to the deaths of artists. The rest »f b. is applied of of lUill be perfectly intelligible to the English reader. FIRST INDEX. Artists referred to in this work, noting the periods of their Birth and Death, and the authoritiesfor the dates. A. Abate (!') Ciccio, v. Solimene. Abati, or dell' Abate, Niccolo, a Modenese, b. 1509 or 1512, d. 1571. Tiraboschi. Vol. iv. p. 46, and vol. v. pp. 48, 57. • Giovanni, his father, d. 1559. Tiraboschi. iv. 48. Pietro Paolo, brother of Niccolo. Tiraboschi. iv. 48. — Giulio Camillo, son of Niccolo. Tiraboschi. ib. Ercole, son of Giulio, d, 1613. Tiraboschi. ib. Pietro Paolo, son of Ercole, d. 1630, aged 38. Tira- boschi. iv. 50. Abatini, Guido Ubaldo, of Cittk di Castello, d.
    [Show full text]
  • ITALIAN ART SOCIETY NEWSLETTER XXIX, 1, Winter 2018
    ITALIAN ART SOCIETY NEWSLETTER XXIX, 1, Winter 2018 An Affiliated Society of: College Art Association Society of Architectural Historians International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts Scholars Committee member Tenley Bick, exploring the theme of “Processi italiani: Examining Process in Postwar March 21, 2017 Italian Art, 1945-1980.” The session was well-attended, inspired lively discussion between the audience and Dear Members of the Italian Art Society: speakers, and marks our continued successful expansion into the fields of modern and contemporary Italian Art. Dario As I get ready to make the long flight to New Donetti received a Conference Travel Grant for Emerging Orleans for RSA, I write to bring you up to date on our Scholars to present his paper “Inventing the New St. Peter’s: recent events, programs, and awards and to remind you Drawing and Emulation in Renaissance Architecture.” The about some upcoming dates for the remainder of this conference also provided an opportunity for another in our academic year and summer. My thanks are due, as series of Emerging Scholars Committee workshops, always, to each of our members for their support of the organized by Kelli Wood and Tenley Bick. IAS and especially to all those who so generously serve CAA also provided the venue for our annual the organization as committee members and board Members Business Meeting. Minutes will be available at the members. IAS website shortly, but among the topics discussed were Since the publication of our last Newsletter, our the ongoing need for more affiliate society sponsored members have participated in sponsored sessions at sessions at CAA, the pros and cons of our current system of several major conferences, our 2018 elections have taken voting on composed slates of candidates selected by the place, and several of our most important grants have Nominating Committee, the increasingly low attendance of been awarded.
    [Show full text]
  • Oil on Copper from the Emilian School, Holy Family
    anticSwiss 23/09/2021 18:55:09 http://www.anticswiss.com Oil on copper from the Emilian school, Holy Family FOR SALE ANTIQUE DEALER Period: 17° secolo -1600 Ars Antiqua srl Milano Style: Altri stili +39 02 29529057 393664680856 Height:23cm Width:17.5cm Material:Olio su rame Price:2600€ DETAILED DESCRIPTION: Emilian school, 17th century Holy family Oil on copper applied to panel, 23 x 17.5 cm - with frame 38 x 34 cm The work in question presents an elegant Holy Family depicting the Virgin with the Child in her arms, lying on the trunk of the tree, while behind her stands St. Joseph. The elements of particular importance are the figure of the father of Jesus, who stands protective of the family and the landscape context with the imposing tree trunk that acts as a scenic backdrop for the composition. These elements become necessary to set the painting on two parallel diagonals, one created by the characters themselves, which are grouped following a vertical trend to close with the figure of Joseph; the other, however, delineated by natural elements. Copper is characterized by the evident preciousness in the drapery cut by decisive lines, visible in particular in the dress that curls on Mary's lap, but also for the profusion of gold used in finishing the edges of the woman's mantle and the haloes. Even the rendering of the incarnate becomes precious in the distinction between the ethereal and rosy ones of the Madonna and Child and the clearly darker one of Joseph, as if to underline the divine and earthly nature of the characters.
    [Show full text]
  • A in 1927 Director Hans Posse (1879–1942) Estimated This Painting and Other Two Others (Gall
    ANNEX: ATTRIBUTION CHART Nr. Marx, 2005 Hübner, 1876 Morelli, 1880 Woermann, 1887 Morelli, 1891 Woermann, 1908 1 Fra Angelico (school of), Fra Angelico (school of), cat. Benozzo Gozzoli [p. 244] Fra Angelico (school of) Benozzo Gozzoli [p. 337] Fra Angelico (school of) Annunciation, gall. no. 7 no. 17 2 Sandro Botticelli, Virgin and Child Sandro Botticelli, cat. no. 2409 Sandro Botticelli [p. 234] Sandro Botticelli Sandro Botticelli [p. 336] Sandro Botticelli with the Infant Saint John the Baptist, gall. no. 8 3 Sandro Botticelli, From the Life and Sandro Botticelli, cat. no. 26 A Sandro Botticelli [p. 233–234] Sandro Botticelli Sandro Botticelli [p. 336] Sandro Botticelli Work of St. Zenobius, gall. no. 9 4 Sandro Botticelli (school of), Virgin Sandro Botticelli ?, cat. no. 27 Sandro Botticelli (school of) [p. Sandro Botticelli (school of) Sandro Botticelli (school of) [p. Sandro Botticelli (school of) and Child with Angels, gall. no. 10 235] 336] 5 — [Location unknown, Saint John the Sandro Botticelli, cat. no. 25 Sandro Botticelli (school of) [p. Sandro Botticelli (school of) Sandro Botticelli (school of) [p. Sandro Botticelli (school of) Evangelist, formerly gall. no. 11]a 233] 336] 6 — [Location unknown, Saint John the Sandro Botticelli, cat. no. 26 Sandro Botticelli (school of) [p. Sandro Botticelli (school of) Sandro Botticelli (school of) Sandro Botticelli (school of) Baptist, formerly gall. no. 12]b 233] [p. 336] 7 Lorenzo di Credi, Virgin and Child Leonardo da Vinci, Lorenzo di Credi (Dutch copy) Lorenzo di Credi Nordic painter [p. 341 ff.] Lorenzo di Credi with Saint John the Baptist, cat. no. 30 [p.
    [Show full text]
  • PRINCE GIOVANNI BATTISTA PAMPHILJ (1648–1709) and the DISPLAY of ART in the PALAZZO AL COLLEGIO ROMANO, ROME Stephanie C. Leon
    PRINCE GIOVANNI BATTISTA PAMPHILJ (1648–1709) AND THE DISPLAY OF ART IN THE PALAZZO AL COLLEGIO ROMANO, ROME Stephanie C. Leone, Boston College pon the death of his father Camillo in July 1666, Giovanni Battista Pamphilj’s legal status Uchanged dramatically: the eighteen-year-old prince became the primogenito of his wealthy and powerful family. With his inheritance came responsibilities, including the oversight of his father’s unfinished artistic projects at Sant’Agnese in Agone, Sant’Agostino, Sant’Andrea al Quirinale, the Collegio Innocenziano, and the Palazzo al Collegio Romano. The latter was the new wing, begun in 1659, which had been added to the Palazzo Aldobrandini al Corso (fig. 1), owned by his mother, Princess Olimpia Aldobrandini (1622–1681). After Olimpia, the sole heir to the great Aldrobrandini fortune, married Camillo Pamphilj in 1647, the couple moved into her palace rather than his, the Palazzo Pamphilj in Piazza Navona. The architect Antonio Del Grande designed Camillo’s new wing as a trapezoidal block to the northwest of the Aldobrandini property, between the Piazza al Col- legio Romano and the large courtyard (figs. 2, 3). Today, this unified palace is known as the Palazzo Doria Pamphilj al Corso. Under Camillo, construction was completed and the interior decoration was begun, but the task of outfitting the new rooms fell to Giovanni Battista.1 In this article—drawing on the information provided by two inventories of the palace’s con- tents, dating from ca. 1680 and 1709, respectively—I shall analyze and attempt to reconstruct the furnishings in Prince Pamphilj’s noble, winter, and mezzanine apartments.
    [Show full text]
  • Bernard Berenson
    BERNARD BERENSON Formation and Heritage VILLA I TATTI SERIES, 31 BERNARD BERENSON Formation and Heritage JOSEPH CONNORS AND LOUIS A. WALDMAN VILLA I TATTI VILLA I TATTI SERIES, 31 THE HARVARD UNIVERSITY CENTER FOR ITALIAN RENAISSANCE STUDIES © Villa I Tai, e Harvard University Center for Italian Renaissance Studies | itai.harvard.edu All rights reserved. Printed in the United States of America by Sheridan Books, Inc. -- Bernard Berenson: formation and heritage.First [edition]. pages cm.(Villa I Tai ; ) “e core of the present volume consists of the papers presented at the conference ‘Bernard Berenson at Fiy,’ held at I Tai from to October .” Includes bibliographical references and index. ---- (rst) . Berenson, Bernard, –. Art criticsUnited States. I. Connors, Joseph. .dc [B] Book and cover design: Melissa Tandysh Book production: Dumbarton Oaks Publications Cover illustration: William Rothenstein, Bernard Berenson, . Frontispiece: James Kerr-Lawson, Bernard Berenson, ca. Both images are from the Berenson Collection, Villa I Tai e Harvard University Center for Italian Renaissance Studies. (Photo: Paolo De Rocco, Centrica srl, Firenze, © President and Fellows of Harvard College.) Contents One Introduction Two Bernard Berenson and Jean Paul Richter e Giambono’s Provenance Three Art, Commerce, and Scholarship e Friendship between Oo Gutekunst of Colnaghi and Bernard Berenson ­ Four Palaces Eternal and Serene e Vision of Altamura and Isabella Stewart Gardner’s Fenway Court Five Bernard Berenson and “Tactile Values” in Florence Six Bernard Berenson’s Florence, Seven Bernard Berenson and Aby Warburg Absolute Opposites Eight Bernard Berenson and Islamic Culture “ought and Temperament” Nine Bernard Berenson and Asian Art Ten Bernard Berenson and Kenneth Clark A Personal View - Eleven Bernard Berenson and Arthur Kingsley Porter Pilgrimage Roads to I Tai Twelve Bernard Berenson and Paul Sachs Teaching Connoisseurship Thirteen “e Cookery of Art” Bernard Berenson and Daniel Varney ompson Jr.
    [Show full text]
  • Printed for the Burlington Fine Arts Club. 1894
    Sto&bS:>-,..·.->? · ·.* ·S. hHHBS 3HH»5m£ mmmmmm φmm tMrnwaj^iEtm mMmm^i wmmfm sSlS •x -·«! • s r 1 • •v.'·-- pTS - ·*Η5 ^sr^wpvrvywp^i» "Su ,ijk w,. - • jagra»»* • ssr -- ft * ' V -<£9 * <··-.,·-·. PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 1894. /Λ tm: M^wm w mm -.-ν- sifts*aaeKwasfafcuns Mifi tf&ttilii .·-,·/ ,/V Burlington fine Huts Club. EXHIBITION OF PICTURES, DRAWINGS & PHOTOGRAPHS OF WORKS OF THE SCHOOL OF FERRARA-BOLOGNA, 14:4:0-154:0, Also of MEDALS of MEMBERS of the HOUSES of ESTE and BENTIVOGLIO. LONDON: PRINTED FOR THE BURLINGTON FINE' ARTS CLUB. 1894. EXHIBITION COMMITTEE. CAVALIERE PROFESSORE ADOLFO VENTURI. WALTER ARMSTRONG, ESQ. R. H. BENSON, ESQ. SIDNEY COLVIN, ESQ. HERBERT F. COOK, ESQ. EDWARD J. POYNTER, ESQ., R.A. LIST OF CONTRIBUTORS. HER MAJESTY THE QUEEN. THE TRUSTEES OF THE IRISH NATIONAL GALLERY, DUBLIN. THE COMMITTEE OF THE CORPORATION GALLERIES OF ART, GLASGOW. THE TRUSTEES OF THE ROYAL INSTITUTION, LIVERPOOL. THE CURATORS OF THE UNIVERSITY GALLERIES, OXFORD. THE COUNCIL OF THE ARUNDEL SOCIETY, LONDON. LORD ASHBURTON. *JAMES KNOWLES, ESQ. *SIR HICKMAN BACON, BART. *THE RIGHT HON. SIR HENRY LAYARD, G.C.B. HERR VON BECKERATH, OF BERLIN. THE EARL OF LEICESTER, K.G. *R. H. BENSON, ESQ. *LUDWIG MOND, ESQ., F.R.S. BERNHARD BERENSON, ESQ., OF FLORENCE. J. WINGFIELD MALCOLM, ESQ., OF POLTALLOCII. THE EARL BROWNLOW. C. FAIRFAX MURRAY, ESQ. THE DUKE OF BUCCLEUGH, K.T. *THE EARL OF NORTHBROOK, G.C.S.I. *CHARLES BUTLER, ESQ. THE MARQUIS OF NORTHAMPTON, K.G. SLGNOR CAVALIERI, OF FERRARA. MRS. OMAN. MISS COHEN. CLAUDE PHILLIPS, ESQ. *W. MARTIN CONWAY, ESQ.
    [Show full text]
  • Italian Masters in German Galleries. a Critical Essay on the Italian Pictures
    d:J3 , / ü / J> ITALIAN MASTERS IN GERMAN GALLERIES. ITALIAN MASTERS IN GEKMAN GALLEEIES. A CEITICAL ESSAY ON THE ITALIAN PICTURES IN THE GALLERIES OF MUNICH—DRESDEN—BERLIN, BT GIOVANNI MORELLI, MEMBER OF THE ITAXIAX SEXATE. TRANSLATED FROM THE GERMAN BY MRS. LOUISE M. RICHTER. LONDON: G-EORGE BELL AND SONS, YOEE STEEET, COVENT GARDEN. 1883. CHISWICK PRESS :—C. WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE. TVF GUTY CCr^IU PEEFACE. THE most important work on Italian painting, as re- gards both contents and compass, is incontestably " A New History of Painting in Italy, in three volumes, London, 1866," with the continnations, " A History of Painting in North Italy (1871), in two volumes, by J. A. Crowe and Gr. B. Cavalcaselle," and " Tiziano, la sua vita ed i suoi tempi, di G. B. Cavalcaselle e J. A. Crowe, in two volumes, 1877." These seven volumes are known throughout civilized Europe, and are the foundation of all study of Italian painting in England, Germany, and France. This work contains the results of the latest researches by specialists, and is compiled with the greatest industry and a most praiseworthy knowledge of existing records. It has, moreover, the advantage over other histories of Italian art, that it is the work not of one m.an alone, which is sure to make a book on art one-sided, but of two men of equal capacity, one belonging to the Teutonic race, the other to the Latin. The judgments and opinions laid down in the work have by that means acquired a solidity VI PKEFACE.
    [Show full text]