DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0125
NORTH ITALIAN
99
We have now come to the High Renaissance, where Antonio Allegri,
called II Correggio, from his birthplace, a small town near Modena
(1494-1534), is the dominating personality of the School of Parma.
Francesco Bianchi (1457-1510), of Ferrara, is his traditional master;
but he was influenced by Lorenzo Costa, Francesco Francia, and
Andrea Mantegna. Correggio has been called “an isolated phenom-
enon in Italian art—we look in vain, after his earliest years of practice
for any true affinity between him and other masters. In his treat-
ment of light and shades and of atmosphere he contributed something
new to Italian art.”
As the Sixteenth Century progressed the North Italians fell more
and more under the spell of the Venetians. Dosso Dossi (1479-1541),
for instance, a painter of Ferrara and a pupil of Lorenzo Costa, went
to Venice and was charmed by Giorgione and Titian before he became
court-painter of Alphonso I, Duke of Ferrara, and his wife, Lucrezia
Borgia.
Northern Italy also claims Paolo Caliari, better known as Paolo
Veronese (1528-1588), a native of Verona, whence his name; but
classed with the Venetian School, as he spent the greater part of his
life in Venice, gorgeously decorating its palaces, churches, and mon-
asteries.
PORTRAIT OF A LADY.
Pisanello Collection of
{1397-1455)- Mr. Clarence II. Mackay.
This is a particularly rare picture as it is one of only three portraits
of this painter so far known, the other two being a female portrait in
the Louvre and a male portrait in Bergamo. Berenson says of this
portrait: “It is in the most mature and the most sumptuous manner
of this greatest master of the fascinating epoch between Gothic and
Renaissance. It has all the direct simplicity of that happy moment
when art had recovered from the mannerisms of the late Gothic style
and was still far from the modishness of the ripe Renaissance. How
fascinating are its qualities of pure decoration! ”
99
We have now come to the High Renaissance, where Antonio Allegri,
called II Correggio, from his birthplace, a small town near Modena
(1494-1534), is the dominating personality of the School of Parma.
Francesco Bianchi (1457-1510), of Ferrara, is his traditional master;
but he was influenced by Lorenzo Costa, Francesco Francia, and
Andrea Mantegna. Correggio has been called “an isolated phenom-
enon in Italian art—we look in vain, after his earliest years of practice
for any true affinity between him and other masters. In his treat-
ment of light and shades and of atmosphere he contributed something
new to Italian art.”
As the Sixteenth Century progressed the North Italians fell more
and more under the spell of the Venetians. Dosso Dossi (1479-1541),
for instance, a painter of Ferrara and a pupil of Lorenzo Costa, went
to Venice and was charmed by Giorgione and Titian before he became
court-painter of Alphonso I, Duke of Ferrara, and his wife, Lucrezia
Borgia.
Northern Italy also claims Paolo Caliari, better known as Paolo
Veronese (1528-1588), a native of Verona, whence his name; but
classed with the Venetian School, as he spent the greater part of his
life in Venice, gorgeously decorating its palaces, churches, and mon-
asteries.
PORTRAIT OF A LADY.
Pisanello Collection of
{1397-1455)- Mr. Clarence II. Mackay.
This is a particularly rare picture as it is one of only three portraits
of this painter so far known, the other two being a female portrait in
the Louvre and a male portrait in Bergamo. Berenson says of this
portrait: “It is in the most mature and the most sumptuous manner
of this greatest master of the fascinating epoch between Gothic and
Renaissance. It has all the direct simplicity of that happy moment
when art had recovered from the mannerisms of the late Gothic style
and was still far from the modishness of the ripe Renaissance. How
fascinating are its qualities of pure decoration! ”