By Rene Milton S. Fow [Editor] Huyghe
The textual content has been translated and tailored from the French of Rene Huyghe, Curator-in-Chief of portray and Drawing on the Louvre. comprises a hundred colour plated from Matsys, Giotto, Uccello, Van Gogh, Rousseau, Toulouse-Lautrec and plenty of extra.
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Library of Congress Catalog Card quantity: 53-11064
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MEMLING [1433P-1494] The Mystic Marriage of Saint Catharine Painted about 1475 Tempera and oil on panel, ]()%" x 5J»" • Flemish School Commentary on page 161 rH to rt a. a o c ID E £ o U o 10 CO c E CJ co lO vn > Q Q IX o CD o s a S3 BQ Cu CO >o w o W P ec CQ CO CI CO to Q u 01 00 10 o b CO CO Pm "3 E Q 00 z W EC D r>i CO 33. 4" x 46)a" • Flemish School Commentary on page 162 34.
Venice was to disregard the sculptural beauty of the male body, to which Roman had devoted itself, and sensual charm of the female. to prefer the art Giorgione, in his Pastoral Concert (plate 16), assembles all the pictorial magic of Venice: the richness of foliage life and flesh, the evocation of a and all this amidst the an autumn sunset. Dying of refined pleasures, sumptuous warmth of young, Giorgione was succeeded by his friend Titian, who with his phant power, was same own sovereign and trium- same evocations, the to use the poetical themes.
While pursuing the ideal of the Renaissance— the flowering of mankind in harmony with the universe— Venice own brought to the task her Even more deliberately special emphasis. than Correggio she addressed herself to the sensibility rather than to the intellect. stirs its oily rial, Venetian art combined the senses— color, gleam all that iridescences under light, its dusk; the splendors of mate- in the of flesh, of tresses. Venice was to disregard the sculptural beauty of the male body, to which Roman had devoted itself, and sensual charm of the female.