DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0166
140
OLD WORLD MASTERS
THE VIRGIN AND CHILD.
Titian Collection of
(1477?-!576'). Mr. Jules S. Bache.
The Virgin, in profile, seated on a stone seat, has auburn hair-
“Titian hair”—which is relieved against a dark-green curtain. Her
robe is pale rose-color with slashes of white and her mantle of cobalt
blue like the landscape, “which resembles the sea at midday.” She
also wears a white veil. She is looking with great tenderness at the
Holy Child, lying at full length on her lap and smiling at her.
The composition is most beautiful and the introduction of the trees
gives perpendicular lines which contrast delightfully with the general
horizontal effects.
Lionel Cust calls it a picture of great charm, as indeed it is, and
says: “The Virgin leans tenderly over the Child lying upon her knees.
This composition is treated in the same manner as the picture at
Bergamo, the Virgin and Child with St. Bridgit and St. Ulphus, in the
Prado at Madrid, and a few others. In all of these works the senti-
ment is that of Giorgione, even though the execution is of the hand of
Titian; and one could not think of attaching another name than his
to this picture and to that at Madrid. It will be noticed also that the
two tree-trunks, so much in evidence at the back of the picture, consti-
tute a leit-motiv, which Giorgione first employed and which Titian
imitated.”
Herbert F. Cook in his Giorgione (London, 1907), gives this paint-
ing to Giorgione, sustaining the claim by the following: “The marble
parapet is a feature in Giorgione’s work, but not in Titian’s. But
the most convincing evidence to those who know the master lies in
the composition, which forms an almost equilateral triangle, reveal-
ing Giorgione’s supreme sense of beauty in line. The splendid curves
made by the drapery, the pose of the Child, so as to obtain the same
unbroken sweep of line, reveal the painter of the Dresden Venus.
The painting of the Child’s hand over the Madonna’s is precisely as
in the Madrid picture, where, moreover, the pose of the Child is singu-
OLD WORLD MASTERS
THE VIRGIN AND CHILD.
Titian Collection of
(1477?-!576'). Mr. Jules S. Bache.
The Virgin, in profile, seated on a stone seat, has auburn hair-
“Titian hair”—which is relieved against a dark-green curtain. Her
robe is pale rose-color with slashes of white and her mantle of cobalt
blue like the landscape, “which resembles the sea at midday.” She
also wears a white veil. She is looking with great tenderness at the
Holy Child, lying at full length on her lap and smiling at her.
The composition is most beautiful and the introduction of the trees
gives perpendicular lines which contrast delightfully with the general
horizontal effects.
Lionel Cust calls it a picture of great charm, as indeed it is, and
says: “The Virgin leans tenderly over the Child lying upon her knees.
This composition is treated in the same manner as the picture at
Bergamo, the Virgin and Child with St. Bridgit and St. Ulphus, in the
Prado at Madrid, and a few others. In all of these works the senti-
ment is that of Giorgione, even though the execution is of the hand of
Titian; and one could not think of attaching another name than his
to this picture and to that at Madrid. It will be noticed also that the
two tree-trunks, so much in evidence at the back of the picture, consti-
tute a leit-motiv, which Giorgione first employed and which Titian
imitated.”
Herbert F. Cook in his Giorgione (London, 1907), gives this paint-
ing to Giorgione, sustaining the claim by the following: “The marble
parapet is a feature in Giorgione’s work, but not in Titian’s. But
the most convincing evidence to those who know the master lies in
the composition, which forms an almost equilateral triangle, reveal-
ing Giorgione’s supreme sense of beauty in line. The splendid curves
made by the drapery, the pose of the Child, so as to obtain the same
unbroken sweep of line, reveal the painter of the Dresden Venus.
The painting of the Child’s hand over the Madonna’s is precisely as
in the Madrid picture, where, moreover, the pose of the Child is singu-