Thus it came to pass that in the Venetian pictures of the end of the
fifteenth century we find neither the contrition nor the devotion of those
earlier years when the Church alone employed painting as the interpreter of
emotion, nor the learning which characterised the Florentines. The Venetian
masters of this time, although nominally continuing to paint the Madonna and
saints, were in reality painting handsome,oil paintings for sale, healthy, sane people like themselves,
people who wore their splendid robes with dignity, who found life worth the mere
living and sought no metaphysical basis for it. In short, the Venetian pictures
of the last decade of the century seemed intended not for devotion, as they had
been, nor for admiration, as they then were in Florence, but for enjoyment. art oil paintings online
The Church itself, as has been said, had educated its children to understand
painting as a language. Now that the passions men dared to avow were no longer
connected with happiness in some future state only, but mainly with life in the
present, painting was expected to give voice to these more human aspirations and
to desert the outgrown ideals of the Church. In Florence, the painters seemed
unable or unwilling to make their art really popular. Nor was it so necessary
there, for Poliziano, Pulci,reproduction oil paintings uk, and Lorenzo dei Medici supplied the need of
self-expression by addressing the Florentines in the language which their early
enthusiasm for antiquity and their natural gifts had made them understand better
than any other—the language of poetry. In Venice alone painting remained what it
had been all over Italy in earlier times, the common tongue of the whole mass of
the people.original oil paintings wholesale Venetian artists thus had the strongest inducements to perfect the
processes which painters must employ to make pictures look real to their own
generation; and their generation had an altogether firmer hold on reality than
any that had been known since the triumph of Christianity. Here again the
comparison of the Renaissance to youth must be borne in mind. The grasp that
youth has on reality is not to be compared to that brought by age, and we must
not expect to find in the Renaissance a passion for an acquaintance with things
as they are such as we ourselves have; but still its grasp of facts was far
firmer than that of the Middle Ages. hand painted oil paintings
Painting, in accommodating itself to the new ideas, found that it could not
attain to satisfactory representation merely by form and colour, but that it
required light and shadow and effects of space. Indeed, venial faults of drawing
are perhaps the least disturbing, while faults of perspective, of spacing, and
of colour completely spoil a picture for people who have an every-day
acquaintance with painting such as the Venetians had. We find the Venetian
painters, therefore,oil paintings wholesale, more and more intent upon giving the space they paint its
real depth, upon giving solid objects the full effect of the round, upon keeping
the different parts of a figure within the same plane, and upon compelling
things to hold their proper places one behind the other. As early as the
beginning of the sixteenth century a few of the greater Venetian painters had
succeeded in making distant objects less and less distinct, as well as smaller
and smaller, and had succeeded also in giving some appearance of reality to the
atmosphere. These are a few of the special problems of painting, as distinct
from sculpture for instance, and they are problems which, among the Italians,
only the Venetians and the painters closely connected with them solved with any
success. oil paintings of nature
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