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Bulletin of Rhode Island School of Design Bulletin of the Rhode Island School of Design Issued Quarterly Vol. VI APRIL, 1918 No. 2 PORTRAIT OF A VENETIAN By Marco Basaiti, XV-XVI Century Gift of Mr. Manton B. Metcalf VI, 10 Bulletin of the Rhode Island School of Design THREE RENAISSANCE While the artist is not to be reckoned PAINTINGS as among the most important Venetian painters his work is well worthy of con- emphasis in of HE the School De- sideration. Basaiti was born in Venice sign collections has hitherto been in the second half of the fifteenth century, Ton representative examples of probably of a Dalmatian or an Albanian American painting; this is a wise policy family. He worked in a number of and merits continuance. But the Mu- studios, especially with Alvise Vivarini seum has never lost sight of the fact that and Giovanni Bellini, following in turn a certain number of paintings of earlier special mannerisms of each master. important schools, from a and more While his work is largely portraits and technical, artistic and historic standpoint, religious subjects his free use of landscape was highly desirable. An important gift leads us to believe that he was especially of three Renaissance paintings from Mr. interested in depicting nature. Since he Manton B. Metcalf is therefore most ac- was one of the early portrait painters of ceptable, especially when their diversity Venice, his work, especially the panel of subject and is considered. treatment under consideration, is of importance. The first of these is a portrait of a man A fellow-worker with Basaiti in the by Marco Basaiti of the Venetian School. studios mentioned was Andrea Pre- The three-quarter view of the sitter pre- vitali, who was born at Brembate Su- sents a study of character well expressed periore, a village near Bergamo, in the by the full, well-rounded cheeks, the second half of the fifteenth century. He firm, closed mouth, the partly-closed also called himself Cordeliaghi or Cor- eyes, and the double chin. His hair falls delia, but did not always sign his works. in long masses to his shoulders, framing The example given by Mr. Metcalf rep- the powerful face. Even the scar on the resents the figure of the risen Christ forehead is not omitted. His black robe stepping out of a great stone sarcophagus, and close-fitting black cap are in sharp the resurrection banner in one hand and contrast with the treatment of the flesh, the other raised in blessing. The back- the picture the necessary ac- and give ground is bold and rocky, with a sunset in cent. The wall of a room fills half of the high contrast with dark masses of clouds. background to the right, while on the In drawing his figure of Christ, Previtali left, through an open window, is seen in followed a type already established. The with a flock of the foreground a shepherd banner is a frequent accessory in Italian sheep; beyond is a lake and in the dis- treatment of this part of Christ’s tri- tance rise the Cadore Hills.* The land- umph. It takes the form of a white in scape keeps its place the background streamer on which is a red cross, and but adds much by its delicate coloring to appears in Italian painting as early as the spirit of the picture, and possibly Duccio of Siena. gives us another clue to the interests of The third panel has been attributed to the man portrayed, as not being wholly Bernardino di Betto, more often known bound up with commercial matters. The as Pinturicchio (1454-1513). Its sub- portrait is of of affairs, a person a man ject is the familiar one of the Madonna whose activity had done much to further and Child, three-quarter length, seated the welfare of Venice. The identity of and with landscape background. Pin- the man is unknown. turicchio enjoyed an important position in the Umbrian school of the quattro- of *A parallel treatment of background is seen cento, being foreman for a time of nobleman in in the portrait a Venetian the Perugino’s studio. There he came to collection of Mr. R. H. Benson in London (Ex. of Venetian Art, No. 25) and the portrait of a man know Raphael Santi. In artistic merit in the Vienna Kunst-academie, both of which are by Basaiti. his earlier work shows decidedly more Bulletin of the Rhode Island School of Design VI, 1 1 THE RISEN CHRIST By Andrea Previtali, XV Century Gift of Mr. Manton B. Metcalf power of conception and execution than fails to be interested in the Child. With his later work, and he can never be reck- Perugino, Pinturicchio and Raphael the oned with the giants of Renaissance element of the divine remains in the painting, but among his contributions to Madonna and Child conception. Follow- this momentous phase of art expression ing that period it becomes more and more is the fact, as has been noted by several human and is subordinated to other writers, that he, with Perugino, de- interests. veloped the type of Umbrian Madonna, In the example illustrated, the Child is which is the glory of Raphael’s work. shown holding a red object in his right In this type the representation of the hand and lifting his left in the usual sign Madonna is much younger than in the of blessing. It differs from the ordinary others. There is more spiritual ab- type in that although the child is bless- straction in the figure, yet she never ing the visitor, its gaze is not directed VI, 12 Bulletin of the Rhode Island School of Design towards him, but off to the left. While spirit of the times seems to be to increase the panel shows the grace of line and the fruitfulness of human character in softness of color which is seen in Pintu- thought and deed.” ricchio’s work, some of the latter quality This sifting out of the grain from the is due to the resurfacing it has received chaff is also increasingly felt in all lines at a dealer’s hand. This has not de- of public and individual service, and the tracted, however, from its subtle charm art museums in their turn find it desir- or quiet, dignified beauty. While its able and necessary to show that they and Umbrian characteristics are much in the principles for which they stand, are evidence, we see in it a work of the school essentials to be retained, valued and of Pinturicchio rather than of the master used to the utmost in the present days himself. L. E. R. of strife as well as in the future days of peace. Past are the days when an art THE HANDWRITING museum was purely a “cold storage ON THE WALL warehouse of works of art,” and long ago the needs of student and public alike HE Old Testament story of the were recognized, and provision made for handwriting on the wall of the them. The museum today which does Tpalace of the Assyrian king and not prove its worth must either change its interpretation by Daniel, “Thou art or be discarded. weighed in the balance and found want- We feel the heritage of the past in ing,” seems to be curiously significant in literature, religion, art and science. We these days of transition brought about by do not care to make the mistakes which the great war. There is a feeling that others have made nor to ignore the perhaps many of the activities of our satisfactory results of the achievements day do not justify their existence under of others. We are suddenly coming to the new conditions, and that the above see that a true sense and appreciation of judgment therefore applies to many of the beautiful is a vital and necessary them. Parallel with the effort to secure part of our life. We know that superior victory over the enemy there has sud- quality and high standards of art are a denly come into being a revival of part of the universal language of beauty, emphasis on what is worth while which irrespective of the country or age which is truly astonishing. Nations have con- called them forth, so that the art museum secrated themselves to great purposes of the future will be less and less national and ideals, individual soldiers in untold and increasingly universal in expression. numbers have become introspective and It will emphasize the educational function developed greater emphasis on a true in ways and to a degree not at present religious life, and private citizens begin realized. It will not be satisfied until it to recognize the seriousness of life, the belongs to every individual in the great benefits of unselfish service, and the spirit public, it will seek to prove that the ele- of the day which asks of every branch of ment of beauty can and should enter into thought and action, “Is it worth while, every phase of life, it will ever be a leader and, if so, how can the most be derived in the dissemination of art as a universal from it for the individual and for the language, and it will take cognizance of nation?” The religious bodies realize the new spirit of the times, glorying in that the great questioning of the day the opportunities presented, and merit- means much to them in the future, and ing universal support. those who cannot justify themselves It has been the experience of most art through universal service, must drop museums that a faithful few individuals behind and sooner or later disappear.
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