DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61523#0048
44
Exhibition of Drawings and Sketches.
Bartolommeo SCHIDONE.
Painter: School of Modena: d. young 1615: said to have been a pupil of
the Carracci: chiefly influenced by the works of Correggio: worked at
Modena and Parma.
205. Sketch for a composition of the Conversion of St. Paul.
Bistre wash heightened with white oil-colour on brown paper.
From the Lawrence collection.
Schidone, a native of the same district as Correggio, and much influenced
by the traditions of that master, in work of this class carries vigour both
of action and chiaroscuro to an extreme, almost an extravagant, point
(M. 305).
Salvator ROSA.
Painter, etcher, satiric poet, and musician: Neapolitan School: b. 1615,
d. 1673: pupil of Paolo Greco and Fr. Francanzano: worked at Naples,
Rome, and Florence: famous especially for wild landscapes and scenes of
brigand life.
206. Four monks seated in contemplation under a tree.
Pen and bistre with Indian ink wash.
(M. 231).
Andrea BOSCOLL
Painter: Florentine School: b. 1553, d. about 1606: pupil of Santo di Titi:
Wbrked chiefly at Florence, and in various other cities of Italy.
2Q7/Serenade by moonlight.
Bistre wash.
From the Lawrence collection.
(M. 137).
Very clever and effective use of the sepia wash for rendering an outdoor
moonlight effect.
Carlo DOLCI.
Painter, chiefly of devotional subjects: Florentine School: b. 1616, d. 1686:
s pupil of I. Vignali, worked chiefly at Florence.
206. Portrait of a man.
Black and red chalk.
From the Lord Spencer collection.
(M. 140).
209. Studies for a composition of a kneeling monk upheld by an
angel.
Black and red chalk.
From the Richardson collection.
(M. 142).
This method of figure and portrait drawing, with finish and delicacy in two
chalks, on grey or white paper, is peculiarly characteristic of Carlo Dolci.
Other Italian artists of the generation preceding him, such as Baroccio, and
in portrait drawings Ottavio and Leone Leoni, had also employed, each
in his manner, the same mixture of materials, which was practically
unknown to the artists of the fifteenth century and of the earlier part of
the sixteenth.
Exhibition of Drawings and Sketches.
Bartolommeo SCHIDONE.
Painter: School of Modena: d. young 1615: said to have been a pupil of
the Carracci: chiefly influenced by the works of Correggio: worked at
Modena and Parma.
205. Sketch for a composition of the Conversion of St. Paul.
Bistre wash heightened with white oil-colour on brown paper.
From the Lawrence collection.
Schidone, a native of the same district as Correggio, and much influenced
by the traditions of that master, in work of this class carries vigour both
of action and chiaroscuro to an extreme, almost an extravagant, point
(M. 305).
Salvator ROSA.
Painter, etcher, satiric poet, and musician: Neapolitan School: b. 1615,
d. 1673: pupil of Paolo Greco and Fr. Francanzano: worked at Naples,
Rome, and Florence: famous especially for wild landscapes and scenes of
brigand life.
206. Four monks seated in contemplation under a tree.
Pen and bistre with Indian ink wash.
(M. 231).
Andrea BOSCOLL
Painter: Florentine School: b. 1553, d. about 1606: pupil of Santo di Titi:
Wbrked chiefly at Florence, and in various other cities of Italy.
2Q7/Serenade by moonlight.
Bistre wash.
From the Lawrence collection.
(M. 137).
Very clever and effective use of the sepia wash for rendering an outdoor
moonlight effect.
Carlo DOLCI.
Painter, chiefly of devotional subjects: Florentine School: b. 1616, d. 1686:
s pupil of I. Vignali, worked chiefly at Florence.
206. Portrait of a man.
Black and red chalk.
From the Lord Spencer collection.
(M. 140).
209. Studies for a composition of a kneeling monk upheld by an
angel.
Black and red chalk.
From the Richardson collection.
(M. 142).
This method of figure and portrait drawing, with finish and delicacy in two
chalks, on grey or white paper, is peculiarly characteristic of Carlo Dolci.
Other Italian artists of the generation preceding him, such as Baroccio, and
in portrait drawings Ottavio and Leone Leoni, had also employed, each
in his manner, the same mixture of materials, which was practically
unknown to the artists of the fifteenth century and of the earlier part of
the sixteenth.