title: Hans Holbein der Jüngere Der Kaufmann Georg Gisze - Google Art Project

artist: Hans Holbein the Younger

date: 1532 

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title: A history of painting (1911) (14783586665)

artist: Leonardo da Vinci

date: 1911

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Identifier: historyofpaintin01macf (find matches)
Title: A history of painting
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: painting Painters
Publisher: London and Edinburgh : T.C. and E.C. Jack
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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This grandfatherseems to have been a true gentleman, for the boy wasbrought up and educated in his house ; and the fatherseems to have had the boy legitimised in his early youth.This Ser Piero was much given to marrying as well as toaffairs of the heart, for he was four times a bridegroom, andby his third and fourth wives had eleven lawful children—which probably caused considerable friction in youth forLeonardo. In youth his personal beauty was renowned, his speechfascinating, and his charm of manner as remarkable. Ofsuch prodigious strength that he could bend an iron ring or144 XVII LEONARDO DA VINCI1452 i5J9 FLORENTINE AND MILANESE SCHOOLS THE VIRGIN OF THE ROCKS (National Gallery) The Virgin kneels amid flowers beneath dark basaltic rocks. She placesher right hand on the shoulder of St. John the Baptist; her left held outin benediction over the Infant Christ seated on the ground beside anangel. Painted on wood, arched at the top. 6 ft. ci in. h. x 3 ft. 9£ in. w.(1-841 x 1155)-
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OF painting horse-shoe with his ringers, his touch was so delicate that WHEREINhe was famed for his mastery of the lute. He composed WE MEETmusic, wrote sonnets. His researches into science and art THE GIANTwere profound; his philosophy forestalled most modern i-tiii. thought—he stated Will as the energy of life. He lifted TTiVIF nT7the veil from many secrets of science. Yet, the pursued T„p Rpobject once discovered, he seemed content, and passed to NAISSANCEother things. The only portrait known of Leonardo waspainted in his old age, and gives small hint of the splendidphysique of the man. At eighteen, in 1470, Leonardo joined the studio of thesculptor-painter Andrea del Verrocchio, where he was tomeet gentle Lorenzo di Credi, genial Botticelli, and scoun-drelly Perugino. His abundant and astounding geniussoon revealed itself; and he early surpassed his master inpainting. It was whilst Verrocchio was at work on hisBaptism of Christ, to-day at the Academy in Florence, thatLeonardo,

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title: A history of painting (1911) (14760586096)

artist: Workshop of Domenico Ghirlandaio

date: 1911

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description: Portrait of a girl - Domenico Ghirlandaio workshop

Identifier: historyofpaintin01macf (find matches)
Title: A history of painting
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: painting Painters
Publisher: London and Edinburgh : T.C. and E.C. Jack
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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the son of Botticellis master, Fra Filippo Lippi andof his nun wife ; but another goldsmith-painter, Ghirlandaio,first claims a tribute, who wrought and lived within theyears of Botticelli, and beside him, and with him, and diedbefore him. Ghirlandaio had not the superb genius of hisgreat fellow-artist; his art gave forth but in narrowerfashion the conception of the age ; but he wrought, withdelightful colour-sense and remarkable style, an art thatwas worthy of his times and a significance, of a tempergracious and amiable, and of a pleasing achievement asmusical as his name. 110 XIII SCHOOL OF DOMENICO GHIRLANDAIO1449 - 1494 FLORENTINE SCHOOL PORTRAIT OF A GIRL (National Gallery) Nolc.—This picture is probably by Bastiano Mainardi, the brother-in-law and assistant of Domenico Ghirlandaio. The exquisite colour-scheme is particularly remarkable for the beautyof the painting of the hair, and its freshness of quality. Painted in tempera on wood. 1 ft. 4 in. x io£ in. (0*405 m. x 0*26).
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GARLANDS CHAPTER XIII OF AN EXQUISITE MAKER OF GARLANDS GHIRLANDAIO 1449 - 1494To a silk-weaver of Florence, one Tomasso Bigordi, was OF ANborn in 1449 his eldest son Domenico del Ghirlandaio. EXQUISITEThe child was therefore some five years younger than MAKfc,K Ui<Botticelli. Ghirlandaio, the eldest of the three sons of ourworthy silk-merchant, was apprenticed to a goldsmith,famous in the Florence of these days as the maker of thejewelled coronals called ghirlande, worn by the ladies of thiscity—and thereby Bigordis eldest lad came to the namewhich has made him immortal. Like so many of thejewel-workers, Ghirlandaio was early using the brushalso, became the pupil of Alessio Baldovinetti, and wassoon so well known that he was painting panel-pictures andfrescoes as far away as Rome and Lucca, Pisa and SanGimignano. Ghirlandaios art is perhaps more obviouslyand easily seen than that of Botticelli; he reveals the moretrivial side of the Florentine temperament, with its love ofcolour

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title: A history of painting (1911) (14597059337)

artist: Paolo Uccello

date: 1911

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description: PAOLO UCCELLO THE ROUTE OF SAN ROMANO i (National Gallery)

Identifier: historyofpaintin01macf (find matches)
Title: A history of painting
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: painting Painters
Publisher: London and Edinburgh : T.C. and E.C. Jack
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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nd truthfulness, and handed it to Italy—a sublime heritagethat was to bring to full flower the sombre splendour ofTuscan art. Before his burly figure all insipidity fled; andin the presence of his majestic genius, at grips with therealities and intensities of life, fragile pietism and the narrowconvent ideals were swept away as though they departedinto nunneries. 80 IV PAOLO UCCELLO1397 H75 TUSCAN SCHOOL THE ROUT OF SAN ROMANO i (National Gallery) Niccolo da Tolentino, the leader of the Florentine forces, is representedon horseback directing the attack on the Sienese. He wears a rich damaskheaddress, his helmet being carried by his armour-bearer. These are theonly two persons whose heads are bare. The second and third of this series of battle pictures are in the UffiziGallery at Florence and in the Louvre. Painted in tempera on wood. 6 ft. h. x 10 ft. 5 in. w. (1-829 x 3:74)- 1 It has long ago been shown by Mr. H. P. Home that this picture docs norepresent the Battle of Sant Egidio.
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CHAPTER IX WHICH IS CHIEFLY CONCERNED WITH PERSPECTIVE DOMENICO VENEZIANO 1400? - 1461 Masaccio, short as was his life, revealed his art to two WHICH ISpainters—whose names are linked together in a murder CHIEFLYinvented by the tongue of Vasari—Domenico Veneziano CON- and Andrea dal Castagno. CERNE5™ t^ • j • r> 1 u „ 1 t-> WITH PER- Domenico di Bartolommeo, better known as Domenico Veneziano, the Venetian, born about 1400 and dying in1461, had learnt his craft in Venice, where he had receivedthe secret of painting in oils. Thence he went southwardsover the mountains into Tuscany, and was working atPerugia in 1438, on the edge of forty, when Cosimo deMedici called him to Florence. Here he at once cameunder the thrall of Masaccios Brancacci frescoes, whichwere a revelation to him, and caused a marked developmentin his artistry. Of his few known works, the most famousare the fresco of John the Baptist and St. Francis in S. Croceat Florence, a Madonna and Saints in the

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title: A history of painting (1911) (14803445763)

artist: Michelangelo

date: 1911

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description: Entombment (Michelangelo)

Identifier: historyofpaintin01macf (find matches)
Title: A history of painting
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: painting Painters
Publisher: London and Edinburgh : T.C. and E.C. Jack
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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ely due toRaphael, did exert a baleful influence throughout thecoming ages. The stupendous genius of Michelangelo,and the vogue which grew about the weaker art ofRaphael, became a curse for centuries to all artistic en-deavour—a curse compelled upon the artists by the criticsand aesthetic writers, as I shall show. But of that morelater. We are come to the art of one who stands for all thatis sublime, gigantic, stupendous in Italian art—who by thegrandeur of his conception, of his design, and his masteryof the human form, for the high emotions aroused by thesense of immensity, stands head and shoulders above thewhole achievement of his race—Michelangelo Buonarroti. 204 XXV MICHELANGELO THE ENTOMBMENT (National Gallery) This masterly work is of enormous interest to the art-world as showingthe methods by which the giant of Italy wrought his undying master-pieces. The darkness of the Sistine Chapel makes it difficult to reproducein colour the supreme works of his genius in painting.
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CHAPTER XXIII WHEREIN THERE PASSES BY, IN THE STREETS OF ROME,UNHAILED, THE GIANT OF THE renaissance MICHELANGELO 1475 - J564 Michelangelo was the son of Ludovico Buonarroti WHEREIN Simone, a Florentine of consequence, since he was Governor THERE (podesta) of Chiusi and Caprese, thereto appointed by PASSES BY, Lorenzo de Medici but a few months before his child was ctdf trnpc born, as Messer Ludovico Buonarrotis own diary bears _ „~. „,. OF ROME witness in the year 1475 : To-day there was born unto ttt\jt_t att pf) me a male child, whom I have named Michelagnolo. He THE saw the light at Caprese, whereof I am Podesta, on Monday GIANT OF morning, 6th March, between four and five o the clock. THE RE- So it came by a strange whim of fortune that the child, NAISSANCE destined to become the supreme giant of the renaissance, was born under the shadow of the Sasso della Verna, where St. Francis of Assisi had seen visions, not in the Florence that was the Athens of the renaissance, wherein

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title: A history of painting (1911) (14781237654)

artist: Internet Archive book Images

date: 1911

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description: Portrait of a Young Man by Andrea del Sarto

Identifier: historyofpaintin01macf (find matches)
Title: A history of painting
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: painting Painters
Publisher: London and Edinburgh : T.C. and E.C. Jack
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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del Fede, theextravagant and black-hearted jade, who roused a madinfatuation in him which was as disastrous to him as artistas his marriage with her was to him as man. Her faceappears in his several Madonnas, in The Holy Family at theBorghese Gallery in Rome, in the Madonna delle Arpie atthe Uffizi in Florence—a long, handsome face, that drewhim to dishonours manifold, to villainies, and to self-contempt. For her vile soul he flung his talents into themere making of money. Her heartless extravagances andvile conceit kept him in a state of perpetual money-troubles.At last he flung up his handsome and lucrative employmentby Francis i., King of France, whose confidence andtrust he foully betrayed, filching the large sums of gold242 XXVI ANDREA DEL SARTOi486 I531 THE SCULPTOR (National Gallery) This, one of the most haunting portraits of the whole Italian achieve-ment, was long supposed to be the portrait of Andrea Del Sarto himself.It displays the masters art in its most perfect form.
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OF painting entrusted to him by the king for the purchase of works WHEREIN of art. THE RE- The genius of Andrea del Sarto must be judged by his NAISSANCE portraits; and so judged he stands amongst the great painters. * ™ ITALY But he can also take high place with his larger work. He PERISHES • • AMIDST was harassed by the neighbourhood of the vast genius of rttink Michelangelo ; in dreading comparison by the side of theother, he allowed his eyes to see, and his hand to create, theacademic thing;—instead of being content to be great andexpress himself, he compelled his hand to employ the brush,and his eyes to see through the vision first of Leonardo daVinci and then of Michelangelo—and the habit of apingthe grand manner grew upon him. Michelangelos mannerof drawing draperies compelled him to follow ; and hisefforts to rival their sculpturesque sense led him to thestatuesque posings which slowly overwhelmed the signifi-cance of his own vigorous hand and the reality of things a

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title: A history of painting (1911) (14783230442)

artist: Antonio del Pollaiuolo

date: 1911

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description: Identifier: historyofpaintin01macf (find matches)

Title: A history of painting
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: painting Painters
Publisher: London and Edinburgh : T.C. and E.C. Jack
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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ccentuates thefact of the increasing public interest in worldly splendour andfading religious fervour, just as Filippo Lippis art showsa more sensuous and worldly religious spirit in markedcontrast with the earlier, simpler, and more childlike faithof Fra Angelico. Benozzo Gozzoli (and probably Fra Lippo Lippi) traineda pupil of whose life and work but little is known, ZenobioMachiavelli (1418-1479) ; and there wrought also inFlorence a follower of Filippo Lippi, and pupil to GiulianoPesello, Francesco Pesellino (1422-1457), who is re-markable for his decorative gifts in colour, and famed forhis paintings of cassone panels. Of Filippo Lippis pupils and followers also were FraDiamante and Jacopo del Sellajo. 9i VII ANTONIO POLLAIUOLO 1429 - 1498 AND PIERO POLLAIUOLO 1443 - 1496 FLORENTINE SCHOOLTHE MARTYRDOM OF ST. SEBASTIAN(National Gallery)St. Sebastian bound to the trunk of a tree, his body pierced with arrows.Painted in oil on wood. 9 ft. 6 in. h. x 6 ft. 7^ in. w. (2-895 x 2-019).
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THE GOLDSMITH-PAINTERS OFFLORENCE VIII VERROCHIO1435 - 1488 VIRGIN AND CHILD When it is remembered that Verrochio was the master of Leonardo daVinci, amongst other great pupils, it will be realised how prodigious aninfluence he had upon the men who came after him.

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title: A history of painting (1911) (14803444203)

artist: Raphael

date: 1911

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Identifier: historyofpaintin01macf (find matches)
Title: A history of painting
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: painting Painters
Publisher: London and Edinburgh : T.C. and E.C. Jack
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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sum si
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OF painting and Venice. Of Peruginos pupils also was Francesco WHEREINUbertini, better known as II Bacchiacca (1494-1557). WE SEE We have seen the Umbrian School of Painters display- ART FLITine a rich sense of colour, and a style and significance in INIO 1HE f 1 • * 4-u «. tr ir • a C c- tu UMBRIAN art, akin to that 01 V enice and or Siena. 1 hey are receptive to many influences, and eagerly adopt them.They are inclined to be what the pedants call eclectic— borrowers, choosers of the best out of everything, makersof fine mixtures. The art of Florence of the fifteen-hundreds is henceforth, also, to become eclectic, borrow-ing from the best that has gone before, both in Florence andin Venice and in Umbria—except only one majestic genius,a very giant, Michelangelo, who stands out alone, headand shoulders above the whole magnificent achievement ofTuscany. But of the splendid borrowers, the mightiestand largest was Raphael, lord of the school of Umbria—indeed, for several centu

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title: A history of painting (1911) (14781224644)

artist: Andrea del Verrocchio

date: 15^th century

medium: technique oil poplar

dimensions: size cm 75.5 54.8

current location: Institution:Gemäldegalerie, Berlin

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Title: A history of painting
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: painting Painters
Publisher: London and Edinburgh : T.C. and E.C. Jack
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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THE GOLDSMITH-PAINTERS OFFLORENCE VIII VERROCHIO1435 - 1488 VIRGIN AND CHILD When it is remembered that Verrochio was the master of Leonardo daVinci, amongst other great pupils, it will be realised how prodigious aninfluence he had upon the men who came after him.
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IX BOTTICELLI 1444 - 1510 FLORENTINE SCHOOL GIOVANNA DEGLI ALBIZZI AND THE THREEGRACES (Giovanna Albizzi et les Trois Graces ou les Vertus) (Louvre) To the right Giovanna, a young woman in a red-brown dress, wearinga white veil on her golden hair and a necklace of pearls round her neck,advances towards four maidens clad in delicately-tinted robes. She holdsin her outstretched hands a white linen cloth into which the four maidensthrow flowers symbolic of the Virtues. Fiesco painting detached from the wall. 7 ft. 3 in. x y ft. 4 in.,2-iz x 2-84).

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