Identifier: historyofpainti01macf (find matches)
Title: A history of painting... / with a preface by Frank Brangwyn
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: Painting Painters
Publisher: Boston : Dana Estes and Co.
Contributing Library: PIMS - University of Toronto
Digitizing Sponsor: University of Toronto

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—it isa fine achievement. It is, besides, significant of his age.Bronzino, essaying the religious picture—as in his largeand dull Limbo or Descent of Christ into Hell—is seenaffecting the religiosities without conviction—employinga subject which has small place in his senses, in order tocreate a turmoil of the nudes with what he took to be thegrand manner of Michelangelo—painting the nude for thesake of showing off his academic capacity for paintingthe naked, wholly without spiritual significance, lackinglargeness of design, poverty-stricken in the colour-sense.It was exactly in his pagan allegories that he came nearest248 XXVII SCHOOL OF BRONZING 1502 - 1572 FLORENTINE SCHOOL PORTRAIT OF A BOY (National Gallery) This portrait of a noble fledgling gives no full idea of the superbachievement of Bronzino in portraiture. His Venus-piece in the samegallery is one of the most valuable treasures in this great collection. Painted on wood. 4 ft. 2^ in. h. x 2 ft. vv. (1282 x 0-609).
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OF PAINTING to striking fire from the rigid, cold, hard anvil of his art. WHEREINIt is interesting to note how a certain quaint trick of placing THE RE-the legs in a sideways slant of somewhat charming awk- NAISSANCEwardness prevailed with him—it is seen in this allegory of ^^ ITALYVenus and Cupid that shocked Symonds ; it recurs in his ERlbHho fine St. John the Baptist at the Borghese Gallery in Rome, :^uJP5Tttmc1 ... ... , , THE RUINS where agam there is no spiritual atmosphere but con-siderable power ; it is seen at its worst in the Dead Christat the Uffizi, though he realises an astounding sense of thelimpness of the dead thereby ; and it is even employedwith considerable grace in the Venus and Cupid at Buda-Pesth. Indeed, Venus and Cupid ever brought out the bestqualities of his art—struck fire from the steel that his coldcolouring was otherwise liable to suggest—as the picture atthe Colonna Palace in Rome again proves. In all is afrank delight in lusty passion that runs to

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