DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0156
130 OLD WORLD MASTERS
mouldings and something in the character of the detail that Crivelli
is still essentially an old Venetian artist, one who uses Classical con-
ventions with a Gothic exuberance.
“This is a work of Crivelli’s prime. Indeed, it would be hard to
name another design in which he shows quite such mastery as he does
here. There is hardly another work in which the sequence of lines is
so suave, its flow so uninterrupted, or in which the movements of the
figures harmonize so perfectly. It is already almost a cinque-cento
work as regards the amplitude of its forms and the breadth of its di-
visions. One notes, for instance, that the fruits hanging on the throne
are even more enlarged and more massed than usual, so that the quan-
tities of relief support and carry out the relief of the figures in a remark-
able manner. Much of the earlier intensity of feeling has undoubtedly
gone. This has none of the strange, brooding pathos of the early Ma-
donnas, nor has it the sharp individual accent of their faces. The works
with which it appears to be most akin are the Vatican Madonna and
the Triptych in the Brera, both of 1482.”
THE VIRGIN AND CHILD WITH ST. LUCY, ST. CATHERINE,
ST. PETER AND ST. JOHN THE BAPTIST.
Giovanni Bellini Collection of
(1428-30-1516). 6Tr- Jules S. Bache.
This is the type of group picture known as a “Holy Conversation”
and represents the Virgin and Child with Saints. It seems to have
been painted when Bellini was between seventy-two and seventy-
seven years of age and between the years 1500 and 1505.
The figures are three-quarter length and under life-size and the
picture, which is an oil painting on canvas, measures 38 x 60 inches.
The Virgin is seated in the centre with a dark-grey curtain behind her
and a marble balustrade in front of her. She wears a rose-colored
tunic and a blue mantle lined with a changeable green and yellow silk.
The Holy Child leans back against her right arm. On her right stands
St. Catherine with a rope of pearls twisted in her hair and St. Lucy, on
her left, wearing a myrtle wreath and holding a tall standing-cup of
mouldings and something in the character of the detail that Crivelli
is still essentially an old Venetian artist, one who uses Classical con-
ventions with a Gothic exuberance.
“This is a work of Crivelli’s prime. Indeed, it would be hard to
name another design in which he shows quite such mastery as he does
here. There is hardly another work in which the sequence of lines is
so suave, its flow so uninterrupted, or in which the movements of the
figures harmonize so perfectly. It is already almost a cinque-cento
work as regards the amplitude of its forms and the breadth of its di-
visions. One notes, for instance, that the fruits hanging on the throne
are even more enlarged and more massed than usual, so that the quan-
tities of relief support and carry out the relief of the figures in a remark-
able manner. Much of the earlier intensity of feeling has undoubtedly
gone. This has none of the strange, brooding pathos of the early Ma-
donnas, nor has it the sharp individual accent of their faces. The works
with which it appears to be most akin are the Vatican Madonna and
the Triptych in the Brera, both of 1482.”
THE VIRGIN AND CHILD WITH ST. LUCY, ST. CATHERINE,
ST. PETER AND ST. JOHN THE BAPTIST.
Giovanni Bellini Collection of
(1428-30-1516). 6Tr- Jules S. Bache.
This is the type of group picture known as a “Holy Conversation”
and represents the Virgin and Child with Saints. It seems to have
been painted when Bellini was between seventy-two and seventy-
seven years of age and between the years 1500 and 1505.
The figures are three-quarter length and under life-size and the
picture, which is an oil painting on canvas, measures 38 x 60 inches.
The Virgin is seated in the centre with a dark-grey curtain behind her
and a marble balustrade in front of her. She wears a rose-colored
tunic and a blue mantle lined with a changeable green and yellow silk.
The Holy Child leans back against her right arm. On her right stands
St. Catherine with a rope of pearls twisted in her hair and St. Lucy, on
her left, wearing a myrtle wreath and holding a tall standing-cup of