The philosophy of painting; a study of the development of the art from prehistoric to modern times by Bell Ralcy Husted 1869-

Author:Bell, Ralcy Husted, 1869- [from old catalog]
Language: eng
Format: epub, pdf
Tags: Painting
Publisher: New York, London, G.P. Putnam's sons
Published: 1916-03-25T05:00:00+00:00

antique but rather on his own outlook upon his surroundings. His work is alive with a love of truth, and it thrills with broad and generous sympathies. It may be said to be the connecting link between thirteenth-century classicism and painting of the modern era. He cleverly subordinated his pattern-effects to the narrative of his decorative painting; and thus he was able to make his way tactfully between opposing qualities. Although poor in colour and weak in light and shade, as compared with later work, he was yet strong and sure in line, rich in sense of proportion, and well balanced in mass-effect. Moreover, he showed his artistic breeding, so to speak, in the modest self-restraint which avoided overemphasis and exaggeration; and his action while always graceful could never be called weak.

With the passing of Giotto, painting suffered a temporary eclipse; and the spirit of his work seemed to enter that of the sculptor Andrea Pisano, whose reliefs in stone and bronze strongly suggest certain characteristics of Giotto's paintings. There was the same disregard of stupid conventionalities; there was a similar sincerity; the same obvious love of beauty is apparent; and through beauty, a like attempt is evident at the expression of emotive values. His bronze gates at Florence are perhaps the best example of his style.

The most famous of Giotto's pupils was Andrea del Cione, often referred to as "Orcagna." He, too, was the master of several arts: being a sculp-

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