Excerpt from The Connoisseur, Vol. 6: All Illustrated Magazine for Collectors; May-August, 1903 On entering the picture gallery at Bridgewater House, the eye is at once arrested by the noble group of four Titians, which all come from the Orleans collection; the Riposo in Lady Ellesmere's' sitting room, catalogued as a Palma Vecchio, but which is, on good authority, pronounced to be an early Titian, is from the same source. The Titians have been grouped together since the re-arrangement of the pictures in 1900 by Mr; Lionel ...
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Excerpt from The Connoisseur, Vol. 6: All Illustrated Magazine for Collectors; May-August, 1903 On entering the picture gallery at Bridgewater House, the eye is at once arrested by the noble group of four Titians, which all come from the Orleans collection; the Riposo in Lady Ellesmere's' sitting room, catalogued as a Palma Vecchio, but which is, on good authority, pronounced to be an early Titian, is from the same source. The Titians have been grouped together since the re-arrangement of the pictures in 1900 by Mr; Lionel Cust, Surveyor of the King's pictures and works of art, and Keeper of the National Portrait Gallery and it seems almost a pity that the Riposo should not hang with them. As it is, it is intensely interesting to study the great Venetian in three different periods of his career and to note the easily distinguished different mariners which belong to these periods. No. 77, T/ze Allegory of f/ze T/iree Ages, was painted in 1509 at about the same time that another world-famous picture was completed, the Sacred ana' Profane Love, now in the Borghese Gallery, when Titian was at the very sum mit of his Giorgionesque period. The picture is a poem, conceived in the spirit of poetry, and with all the glowing romance which distinguishes Giorgione the background suggests him, too, and the figure of the shepherd might have come from his own hand. The maiden, however, is Titianesque, though rather hard with her detached profile and her wreath of jessamine, which is primitive in treatment and the group of sleeping babies, with the little god of love climbing on the joyous contours of their round, soft limbs, are his own creation, the direct inspirations of_ his genius. No. 19, the Ve'nns a' la Coonz'lle (once in Queen Christina's Gallery), belongs to a late middle period and is said to be terribly spoilt by the hands of time and the restorer. Spoilt or no, it is a masterpiece the dull black blue of sea and sky, the contrasting but subdued flesh tints, and the cool, golden brown of the waving hair, make an ensemble of great harmony. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at ... This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Add this copy of The Connoisseur, Vol 6 All Illustrated Magazine for to cart. $22.50, new condition, Sold by Paperbackshop rated 4.0 out of 5 stars, ships from Bensenville, IL, UNITED STATES, published 2018 by Forgotten Books.
Add this copy of The Connoisseur, Vol. 6: All Illustrated Magazine for to cart. $32.47, new condition, Sold by Paperbackshop rated 4.0 out of 5 stars, ships from Bensenville, IL, UNITED STATES, published 2018 by Forgotten Books.
