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Palma Vecchio : Venetian School A VBiCCIItO PRICE, 15 CENTS 1 K*^etle?ij0|lj^^^lIl9nojsrapl)S iH' J§sueiiiftptitl)lu, ii! PALMA VECCHIO PART 62- 'VOLUME 6 3ateiianD<iuilti(Xompanii, 42'C[()aunQi^trcrt CO o .^ J i: --*^ MASTERS I N ART K*^trU|5^lui5tratEliiItoiioflrap6g (Mm MANUFACTURED \H tIMOCESi Among the artists to be considered during the current, 1905, SINCE 1783 Volume may be mentioned Fra Filippo Lippi, Sir Henry Rae- burn, Jan Steen, Claude Lorrain, Andrea Mantegna, and Char- more than a din. The numbers of ' Masters in Art' which have already FOR appeared in 1905 are : century, has been Pakt6i, JANUARY WATTS distinguished by its Hart 6z, FEBRUARY . PALMA VECCHIO artistic shapes and PART 63, THE ISSUE FOR beautiful decorations. Unlike most fine WILI, TREAT OF porcelains, it has a hard body and lead- less glaze, which cannot be cut with the knife. For sale at the belter jhopj NUMBERS ISSUED IN PREVIOUS VOLUMES OF 'MASTERS IN ART' VOL. 1. VOL. 2. 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Part ;8, OCTOBER BARYE Part 59, NOVEMBER VERONESE Part 60, DECEMBER. COPLEY Special Terms to Schools. ALL THE ABOVE NAMED ISSUES ARE CONSTANTLY KEPT IN STOCK Prices BRAUN, & CO. on after i, : CLEMENT and January 1905 Single numbers of back volumes, 20 cents each. Single numbers of the current 1905 volume, 15 cents each. Bound volumes I, 2, 3,4, and 5, contain- 249 Fifth Avenue, corner 28th Street ing the partslisted above, bound in brown buckram, with gilt stamps and gilt top, $3.75 each; in green half-morocco, gilt NEW YORK CITY stamps and gilt top, $4.25 each. In answering advertisements, please mention Masters in Art MASTERS IN ART LETTERS and LETTERING AN Illustrated Treatise, by Frank Cho- tf.au Brown, containing no exam- ples. A com|iletc and varied collection of Alphabets of Standard and Modern Form";, so arranged as to be most practically and con- veniently useful to ALL who have to draw letter-forms. Every Designer should at least know just what this book i>.. Our illustrated folder gives full information, and a postal card is all it costs. "LETTERS AND LETTERING ' measures s\ x 8\ inches, contains 334 pages, and is substantially bound in cloth. Price, post-paid . S'i.oo BATES & GUILD CO. 42 CHAUNCY ST., BOSTON. MASS. In answering advertisement>, please iiu-ntinn Mam 1 ks in Akt 11 /? P3 H MASTKRS IIST ART PLATE I PALMA VECCHIO Photograph by anderson 335740 ST. BABIiAKA [45] CIJL'ltCJI OF S.VXTA JIAJtJA FOKMOSA, VKXJGE < ^ s ^ ^ tt " q C W (h w ta ~>- > S •< c ^ s J H <:^ < X cJ ft =: J < z MASTERS IN AHT 1»LATR IV PALM A VKCCHIO ST. GKOEGE ANDERSON MADONXA WITH ST. I>UCY AND PHOTOGRAPH BY VICENZA [r.i] CUUKGH OF SAN STEFANO, K tn P. i ^q - < MASTEllS IN Aar PLATE VI PALMA VECCHIO PHOTOGRAPH BV HANFSTAENGL VIOI.AXTR [go] lilPEBlAL GALLEKT, VJEXNA f< tfi * 3 VECCHIO MASTEKS IN ART PI.ATE VIII PAI.MA POKIKAIT OKA 1,A1)V PHOTOGRAPH BY BRAUN, CLEMENT & CIE M. ALPJIOKSE UE K(3Tn?i ^H I LU, PA HIS [5'J] COLI.KGTIUN OK ^ e tC o VECCHIO MASTEKS IX AKT PIRATE X i>AI,MA PIIKTKAIT OF A POKT PHOTOGRAPH BY BRAUN CLEMENT A ClE GAIiLEKT, I.OXnuN [03] XATIOA'AL I'liHiHAir til- I'Ai.MA \ i:i(;un) i;y mMSi;i.i' minu ii i; ai. 1.1:1: \ This portrait, about which critics arc disagreed, is bclifve.l by nianv to be the paint- ing doscribt-d by Vasari as a likeness of Palma Vecchio painted by hiniselt", in wliich he is "clothed in a robe of'camei's hair, with locks of liair hanging about his head." Vasari praise, the ' living glance and turning of the eyes," as well as tlie "grace, dignity, and many other excellencies," which make this portrait, he says, "the best of all the master's works." Kor opinions rejr.irding the authen- ticity of this famous p.iiul, sec page 24 of the present number of tliis Series. [.Ill MASTERS IN ART 3lato|io ]|alma CALLED ^alma Wtttf^io BORN 1480 (? : DIED 1528 VENETIAN SCHOOL OF the life of no other great Itahan artist of the sixteenth century is so Httle known as of that of the popular painter Jacopo, or Jacomo, Palma, called Palma Vecchio (Pal-mah Vek-kee-o), signifying Palma the old, or elder, to distinguish him from his grandnephew of the same name, also a painter, who, in his turn, w^as known as Palma Giovine, Palma the young, or younger. The family name was Negreti, and in documents prior to 15 12 Palma Vecchio seems to have signed himself Jacomo de Antonio de Negreti; after that date, however, his signature appears as Jacomo Palma, by which name, but more familiarly as Palma Vecchio, he is known to us. The Venetians claimed Palma Vecchio as a native of their city, and Vasari in speaking of him as "the Venetian Palma" seems to have accepted their claim. But recent research has proved that Boschini, as well as the anon- ymous writer of Venice known as "The Anonimo," was correct in stating that his origin was Bergamask, and has further established the fact recorded by his later biographer, Ridolfi, that his birthplace was the village of Serina, or Serinalta, in the Valley of the Brembo, not many miles from the town of Bergamo. The house in which he lived in his youth in this little village among the hills of Lombardy is still pointed out as la ca del pittur — the house of the painter. The date of Palma's birth is not certainly known. If Vasari is to be be- lieved, he was born in the year 1040, for according to that writer Palma was forty-eight when he died, and documentary proof exists that his death occurred in the year 1528. Although the first actual evidence of the painter's presence in Venice is his signature in 15 10 as a witness to the will of one Sofia, wife of Rocco Dossena, and presumably a Bergamask lady then resident in Venice, it is believed that he went to that city when very young, and that, together with Titian and Gior- [65] 24 MASTERS I N ART gione, he there entered the studio of Giovanni BeUini, whose influence is per- ceptible in some of his earl\' works. But whether his master was Bellini, or whether it was to some other Hfteenth-centur)' painter that he owed his artistic training, there can he no doubt that he was influenced by both Titian and Giorgione, probably his seniors by only a few years. Another painter with whom he came into close contact in Venice was his countryman Lorenzo Lotto, whom he may have known in Bergamo, and who was both influenced b)' Palma, and, in his turn, left his impression upon Palma's work. There is evidence that Palma paid fretjuent visits to his native place. At Dossena and Peghera — both in the Valley of the Brembo — as well as at his native Serina, examples of his work may still be seen. With the exception of these short journeys, however, he seems to have spent the remainder of his life in Venice, busily engaged in painting altar-pieces, Satite Convtrsaziont, or 'Holy Conversations' — as those pictures are called in which groups of saints in adoration of the Madonna and Child are depicted in peaceful landscapes — and in portraying the features of the men and women of well-known families among the nobility of that time in \"enice, notabl)' of the women, of whom Palma may be said to be the painter par excellence, and whom he frequently idealized by representing them in classic costumes under such titles as ' Lu- crezia,' or 'Judith.' For only two of Palma's paintings do we possess approximate dates. It is known that in 1520 he was commissioned by Marin Querini to paint an altar- piece for the Church of Sant' Antonio in Venice, of which only a portion has been preserved and is now in the Giovanelli Palace, Venice; and that in 1525 he agreed to paint for a lady of the Malipero famil\- an altar-piece represent- ing 'The Adoration of the Magi,' to decorate the island-church of Sant' Elena.
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