By John C. van Dyke
John Charles van Dyke (1856-1932) used to be an American artwork historian and critic. He used to be born at New Brunswick, N. J., studied at Columbia, and for a few years in Europe. along with his ebook chronicling the historical past of portray from cave work to the fashionable period. totally illustrated.
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Extra resources for A Text-Book of the History of Painting (Illustrated Edition)
1535) were the principal masters. Cossa and Grandi, it seems, afterward removed to Bologna, and it was probably their move that induced Lorenzo Costa to follow them. In that way the Ferrarese school became somewhat complicated with the Bolognese school, and is confused in its history to this day. Costa was not unlikely the real founder, or, at the least, the strongest influencer of the Bolognese school. He was a painter of a rugged, manly type, afterward tempered by Southern influences to softness and sentiment.
Sebastian Pitti and Nat. Gal. ; Cosimo Rosselli, frescos S. , Nat. Gal. ; Filippino, frescos Carmine Florence, Caraffa Chapel Minerva Rome, S. M. Novella and Acad. Florence, S. Domenico Bologna, easel pictures in Pitti, Uffizi, Nat. Gal. , Venus, Calumny, Madonnas Uffizi, Pitti, Nat. Gal. ; Ghirlandajo, frescos Sistine Chapel Rome, S. Trinità Florence, S. M. Novella, Palazzo Vecchio, altar-pieces Uffizi and Acad. Florence, Visitation Louvre; Verrocchio, Baptism of Christ Acad. Florence; Lorenzo di Credi, Nativity Acad.
A long period of heavy, morose, almost formless art, eloquent of mediæval darkness and ignorance, followed. It is strange that such an art should be adopted by foreign nations, and yet it was. Its bloody crucifixions and morbid madonnas were well fitted to the dark view of life held during the Middle Ages, and its influence was wide-spread and of long duration. It affected French and German art, it ruled at the North, and in the East it lives even to this day. That it strongly affected Italy is a very apparent fact.