This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1917 edition. Excerpt: ... II THE VENETIANS We are apt to think of the Venetian school of art as much later in date than the other schools of Italy, and there is indeed some justification for this thought in the facts of the case. The Venetian school of painting was late in beginning and late in ending. Until the latter part of ...
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1917 edition. Excerpt: ... II THE VENETIANS We are apt to think of the Venetian school of art as much later in date than the other schools of Italy, and there is indeed some justification for this thought in the facts of the case. The Venetian school of painting was late in beginning and late in ending. Until the latter part of the fifteenth century it produced little that the world would hold in remembrance were it not for what came after it, and it continued to produce masterpieces of a high order until nearly the end of the sixteenth century, when the art of the rest of Italy had become a sterile imitation. Even in the seventeenth century the art of Venice was not without some lingering sparks of vitality, and in the eighteenth it flamed up again for a moment before its final extinction. Yet Venetian art arrived at maturity almost at the same moment as that of the rest of Italy. Giorgione was but two or three years younger than Michelangelo and was five or six years older than Raphael, and even if.we place Titian's birth, as some modern writers would have us do, thirteen years later than the traditional date of 1477, he was still four years older than Correggio. It is the intense vitality of the school which kept it at its height full fifty years after the decline had begun elsewhere, and its fecundity which made it the direct ancestor of our modern art, that mislead us, a little, as to its chronology. But there is no illusion in the other feeling we have, that Venetian art is profoundly different from that of the other Italian schools. Venice produced a splendid architecture, but it is an architecture of color or of effect rather than an architecture of structure or of form. She produced very little sculpture worthy of consideration. But she produced a school...
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