Daniele da Volterra-Marcello Venusti(ITALIAN PAINTING)

Technically he was more of a sculptor than a painter. He said so himself when Julius commanded him to paint the Sistine ceiling, and he told the truth. He was a magnificent draughtsman, and drew magnificent sculpturesque figures on the Sistine vault. That was about all his achievement with the brush. In color, light, air,oil paintings,  perspective—in all those features peculiar to the painter—he was behind his contemporaries. Composition he knew a great deal about, and in drawing he had the most positive, far-reaching command of line of any painter of any time. It was in drawing that he showed his power. Even this is severe and harsh at times, and then again filled with a grace that is majestic and in scope universal, as witness the Creation of Adam in the Sistine. art oil paintings for sale

FIG. 41.—RAPHAEL. LA BELLE JARDINIÈRE. LOUVRE.

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He came out of Florence, a pupil of Ghirlandajo, with a school feeling for line, stimulated by the frescos of Masaccio and Signorelli. At an early age he declared himself, and hewed a path of his own through art, sweeping along with him many of the slighter painters of his age. Long-lived he saw his contemporaries die about him and Humanism end in bloodshed with the coming of the Jesuits; but alone, gloomy, resolute, steadfast to his belief, he held his way, the last great representative of Florentine art, the first great representative of individualism in art. With him and after him came many followers who strove to imitate his "terrible style," but they did not succeed any too well. art oil painting online
The most of these followers find classification under the Mannerists of the Decadence. Of those who were immediate pupils of Michael Angelo, or carried out his designs, Daniele da Volterra (1509-1566) was one of the most satisfactory. His chief work, the Descent from the Cross, was considered by Poussin as one of the three great pictures of the world. It is sometimes said to have been designed by Michael Angelo, but that is only a conjecture. It has much action and life in it, but is somewhat affected in pose and gesture,oil painting on canvas for sale, and Volterra's work generally was deficient in real energy of conception and execution.Marcello Venusti (1515-1585?) painted directly from Michael Angelo's designs in a delicate and precise way, probably imbibed from his master, Perino del Vaga, and from association with Venetians like Sebastiano del Piombo (1485-1547). This last-named painter was born in Venice and trained under Bellini and Giorgione, inheriting the color and light-and-shade qualities of the Venetians; but later on he went to Rome and came under the influence of Michael Angelo and Raphael. He tried,abstract oil painting on canvas, under Michael Angelo's inspiration it is said, to unite the Florentine grandeur of line with the Venetian coloring, and thus outdo Raphael. It was not wholly successful, though resulting in an excellent quality of art. As a portrait-painter he was above reproach. His early works were rather free in impasto, the late ones smooth and shiny, in imitation of Raphael. where to buy oil paintings
Raphael Sanzio (1483-1520) was more Greek in method than any of the great Renaissance painters. In subject he was not more classic than others of his time; he painted all subjects. In thought he was not particularly classic; he was chiefly intellectual, with a leaning toward the sensuous that was half-pagan. It was in method and expression more than elsewhere that he showed the Greek spirit. He aimed at the ideal and the universal,original oil paintings wholesale, independent, so far as possible, of the individual, and sought by a union of all elements to produce perfect harmony. The Harmonist of the Renaissance is his title. And this harmony extended to a blending of thought, form, and expression, heightening or modifying every element until they ran together with such rhythm that it could not be seen where one left off and another began. He was the very opposite of Michael Angelo. The art of the latter was an expression of individual power and was purely subjective. Raphael's art was largely a unity of objective beauties, with the personal element as much in abeyance as was possible for his time. modern oil paintings of flowers
His education was a cultivation of every grace of mind and hand. He assimilated freely whatever he found to be good in the art about him. A pupil of Perugino originally, he levied upon features of excellence in Masaccio, Fra Bartolommeo, Leonardo, Michael Angelo. From the first he got tenderness, from the second drawing, from the third color and composition, from the fourth charm, from the fifth force. Like an eclectic Greek he drew from all sources, and then blended and united these features in a peculiar style of his own and stamped them with his peculiar Raphaelesque stamp. oil paintings wholesale

In subject Raphael was religious and mythological, but he was imbued with neither of these so far as the initial spirit was concerned. He looked at all subjects in a calm, intellectual, artistic way. Even the celebrated Sistine Madonna is more intellectual than pietistic, a Christian Minerva ruling rather than helping to save the world.dafen oil painting village The same spirit ruled him in classic and theological themes. He did not feel them keenly or execute them passionately—at least there is no indication of it in his work. The doing so would have destroyed unity, symmetry, repose. The theme was ever held in check by a regard for proportion and rhythm. To keep all artistic elements in perfect equilibrium, allowing no one to predominate, seemed the mainspring of his action, and in doing this he created that harmony which his admirers sometimes refer to as pure beauty. wall art oil paintings