From this great Venetian school of landscape

§ 19. From this great Venetian school of landscape Turner received much important teaching,—almost the only healthy teaching which he owed to preceding art. The designs of the Liber Studiorum are founded first on nature, but in many cases modified by forced imitation of Claude, and fond imitation of Titian. All the worst and feeblest studies in the book—as the pastoral with the nymph playing the tambourine,oil paintings for sale,that with the long bridge seen through trees, and with the flock of goats on the walled road—owe the principal part of their imbecilities to Claude; another group (Solway Moss, Peat Bog, Lauffenbourg, & c.) is taken with hardly any modification by pictorial influence, straight from nature; and the finest works in the book—the Grande Chartreuse, Rizpah, Jason, Cephalus, and one or two more—are strongly under the influence of Titian.
§ 20. The Venetian school of landscape expired with Tintoret, in the year 1594; and the sixteenth century closed,oil paintings wholesale, like a grave, over the great art of the world. There is no entirely sincere or great art in the seventeenth century. Rubens and Rembrandt are its two greatest men, both deeply stained by the errors and affectations of their age. The influence of the Venetians hardly extended to them; the tower of the Titianesque art fell southwards; and on the dust of its ruins grew various art-weeds, such as Domenichino and the Carraccis. Their landscape, which may in few words be accurately defined as "Scum of Titian," possesses no single merit, nor any ground for the forgiveness of demerit; they are to be named only as a link through which the Venetian influence came dimly down to Claude and Salvator. hand painted oil paintings