Identifier: earlyflemishpain00crow (find matches)
Title: The early Flemish painters: notices of their lives and works
Year: 1872 (1870s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897
Subjects: Painters Painting
Publisher: London : J. Murray
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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is-tic development Antonellowandered to Venice, where he entered into active com-petition with men who had never heard any thing ofoil painting except the name, and produced with hisworks such a sensation that the course of Venetian artwas changed, the Vivarini and Bellini giving up notmerely the habits of tempera painters but the spirit ofclassic design inherited from the Florentines andPaduans. Up to 1473, all the works of Bartolommeoand Luigi Vivarini, Gentile and Giovanni Bellini, andtheir numerous disciples had been executed in tempera;within less than ten years it was impossible to find asingle Venetian willing to paint otherwise than in oil.Time necessarily elapsed before the change wasthoroughly worked out. Antonello himself in numerousportraits and solitary figures, progressed to mediumspellucid in clearness, and to a technical treatmentperfect in its blending and finish. The Venetians, Giovanni Bellini in particular, madeuntiring efforts to acquire subtleties which Antonello
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THE CliDCIFIXION.By Antonella da Messiua, in the Antwerp Mnseutn. page 235. CHAP. IX.) ANTONELLO DA MESSINA. 235 was not willing to teach, and went through all thephases which are distinguishable on pictures of thetime between viscous and highly coloured mediums,and the clear free-running ones of the moderns. Thenoccurred that memorable and curious change of partswliich has been noticed in the lives of these painters,when the genius of Bellini carried him beyond therival whom at one time he might have despaired ofreaching, and then imposed on him his own more genialand coloured manner. Amongst the works which gave Antonello fame onhis arrival in the North, the most important was thatwhich attracted the attention of several generations atSan Cassiano of Venice and subsequently disappeared.We possess perfect specimens of portrait in his bestmanner, a bust of a youth (1474), in the collection ofthe Duke of Hamilton, a portrait of a man with ascarred upper lip called in recent times the c

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