DOI Page / Citation link:
https://doi.org/10.11588/diglit.52600#0026
xviii
INTRODUCTION
The light is equally distributed throughout the scene.
Sometimes our artist, however, attains very beautiful
effects with these simple means. When he ventures
upon freer schemes of composition, the result in the
majority of cases is not very satisfactory ; and we must
add that this lack of capacity when arranging lines and
spaces manifests itself also in his design of drapery.
Like most of the painters of his generation, Montagna
on the whole kept to the principles of style he originally
adopted, though he was not entirely unaffected by
more modern influences. We have already touched
upon his evolution as a colourist; and we may further
remark that his design gradually gets somewhat freer,
his draperies losing something of their original angu-
larity and becoming softer and more simple. In his
later works the figures are fuller in form and betray
thus an influence from the style of the cinquecento, as
does also the growing feeling for the moods of nature in
his landscapes.1 But it is undoubtedly in its early
phase that Montagna’s art has most of genuine power
and impressiveness.
1 Round Montagna are grouped several interesting
artistic personalities. The most illustrious painter
fostered by the Vicentine ca/poscuola is undoubtedly
Giovanni Battista Cima da Conegliano (1459-60—
1517-18), whose earlier works, even if partaking of the
amiability and serenity which are essential features of
Cima’s genius, yet show such a marked influence of
the stern art of Montagna. But in Cima’s brilliant
1 A curious mixture of old and new as regards the treatment of the
landscape is afforded by the little St. ‘Jerome in the Morelli collection at
Bergamo. The effect of sunset and the device of showing us the old
man seated in tranquil contemplation under the shady tree are traits
betraying a romanticism akin to Giorgione and Lotto; while the rich-
ness of detail in the scenery, trying to catch the eye with as many inter-
esting details as possible, is thoroughly after the fashion of the quattro-
cento.
INTRODUCTION
The light is equally distributed throughout the scene.
Sometimes our artist, however, attains very beautiful
effects with these simple means. When he ventures
upon freer schemes of composition, the result in the
majority of cases is not very satisfactory ; and we must
add that this lack of capacity when arranging lines and
spaces manifests itself also in his design of drapery.
Like most of the painters of his generation, Montagna
on the whole kept to the principles of style he originally
adopted, though he was not entirely unaffected by
more modern influences. We have already touched
upon his evolution as a colourist; and we may further
remark that his design gradually gets somewhat freer,
his draperies losing something of their original angu-
larity and becoming softer and more simple. In his
later works the figures are fuller in form and betray
thus an influence from the style of the cinquecento, as
does also the growing feeling for the moods of nature in
his landscapes.1 But it is undoubtedly in its early
phase that Montagna’s art has most of genuine power
and impressiveness.
1 Round Montagna are grouped several interesting
artistic personalities. The most illustrious painter
fostered by the Vicentine ca/poscuola is undoubtedly
Giovanni Battista Cima da Conegliano (1459-60—
1517-18), whose earlier works, even if partaking of the
amiability and serenity which are essential features of
Cima’s genius, yet show such a marked influence of
the stern art of Montagna. But in Cima’s brilliant
1 A curious mixture of old and new as regards the treatment of the
landscape is afforded by the little St. ‘Jerome in the Morelli collection at
Bergamo. The effect of sunset and the device of showing us the old
man seated in tranquil contemplation under the shady tree are traits
betraying a romanticism akin to Giorgione and Lotto; while the rich-
ness of detail in the scenery, trying to catch the eye with as many inter-
esting details as possible, is thoroughly after the fashion of the quattro-
cento.