SCHOOLS OF FERRARA AND BOLOGNA(ITALIAN PAINTING)

The true descent of the Umbrian sentiment was through Foligno and Bonfiglio to Perugino (1446-1524). Signorelli and Perugino seem opposed to each other in their art. The first was the forerunner of Michael Angelo, the second was the master of Raphael; and the difference between Michael Angelo and Raphael was, in a less varied degree, the difference between Signorelli and Perugino. The one showed Florentine line, the other Umbrian sentiment and color. It is in Perugino that we find the old religious feeling. Fervor, tenderness, and devotion, with soft eyes, delicate features,oil painting for sale, and pathetic looks characterized his art. The figure was slight, graceful, and in pose sentimentally inclined to one side. The head was almost affectedly placed on the shoulders, and the round olive face was full of wistful tenderness. This Perugino type, used in all his paintings, is well described by Taine as a "body belonging to the Renaissance containing a soul that belonged to the Middle Ages." The sentiment was more purely human, however, than in such a painter, for instance, as Fra Angelico. Religion still held with Perugino and the Umbrians, but even with them it was becoming materialized by the beauty of the world about them. oil paintings

FIG. 31.—PERUGINO. MADONNA, SAINTS, AND ANGELS. LOUVRE.

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As a technician Perugino was excellent. There was no dramatic fire and fury about him. The composition was simple, with graceful figures in repose. The coloring was rich, and there were many brilliant effects obtained by the use of oils. He was among the first of his school to use that medium. His friend and fellow-worker, Pinturricchio(1454-1513), did not use oils,abstract oil paintings, but was a superior man in fresco. In type and sentiment he was rather like Perugino, in composition a little extravagant and huddled, in landscape backgrounds quite original and inventive. He never was a serious rival of Perugino, though a more varied and interesting painter. Perugino's best pupil, after Raphael, was Lo Spagna (?-1530?), who followed his master's style until the High Renaissance, when he became a follower of Raphael. where to buy oil paintings

SCHOOLS OF FERRARA AND BOLOGNA: The painters of Ferrara, in the fifteenth century, seemed to have relied upon Padua for their teaching. The best of the early men was Cosimo Tura (1430-1495), who showed the Paduan influence of Squarcione in anatomical insistences, coarse joints, infinite detail, and fantastic ornamentation. He was probably the founder of the school in which Francesco Cossa (fl. 1435-1480), a naif and strong,oil paintings for sale cheap, if somewhat morbid painter, Ercole di Giulio Grandi (fl. 1465-1535), and Lorenzo Costa (1460?-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. This was the result of Paduan methods meeting at Bologna with Umbrian sentiment. original oil paintings wholesale