A History of Art for Beginners and Students, Clara Erskine Clement Waters [best beach reads .txt] 📗

His daughter, Marietta Robusti (1560-1590), was a pupil of her father’s, and became so good a portrait-painter that she was invited to the Court of Spain by Philip II., but her father could not consent to a separation from her. Some excellent pictures of hers still exist, and her portraits of Marco dei Vescovi and the antiquarian Strada were celebrated pictures. When the Emperor Maximilian and the Archduke Ferdinand, each in turn, desired her presence at their courts, her father hastened to marry her to Mario Augusti, a wealthy German jeweller, upon the condition that she should remain in her father’s house. She was celebrated for her beauty, had fine musical talents, and was sprightly and enthusiastic; her father was so fond of having her with him that he sometimes allowed her to dress as a boy, and go with him to study where young girls were not admitted.

When but thirty years old Marietta Robusti died; she was buried in the Church of Santa Maria dell Orto, where are several works by her father. Both he and her husband mourned for her all their remaining days. Many pictures of Tintoretto painting his daughter’s portrait after her death have been made by later artists.

Paoli Cagliari, or Caliari, called Paul Veronese (1528-1588), was born at Verona, but as he lived mostly at Venice, he belongs to the school of that city. He was an imitator of Titian, whom he did not equal; still he was a fine painter. His excellences were in his harmonious color, his good arrangement of his figures in the foreground, and his fine architectural backgrounds. He tried to make his works magnificent, and to do this he painted festive scenes, with many figures in splendid costumes. He is buried in the Church of St. Sebastian, where there are many of his works.

In the gallery of the Louvre is his “Marriage at Cana.” It is thirty by twenty feet in size, and many of its figures are portraits. His pictures are numerous and are seen in the European galleries. The “Family of Darius,” in the National Gallery, London, cost that institution the enormous sum of thirteen thousand six hundred and fifty pounds; it was formerly in the Pisani Palace, Venice, and was said to have been left there by Veronese as payment for his entertainment during a visit he had made in the palace. In 1868, at the Demidoff sale, a portrait of his daughter sold for two thousand five hundred and twenty-four pounds.

At the close of the sixteenth century a family of a father and four sons were busy painting what may rightfully be termed the earliest genre pictures of Italy. This term is used to denote pictures that stand between historical and utterly imaginary subjects; that is to say, the representation of something that seems real to us because it is so familiar to our imagination, or because it is something that we know might have happened, that it has all the naturalness of an actual reproduction of a fact. There may be interior or landscape genre pictures. The first represent familiar in-door scenes—the latter are landscapes with animals or figures to give a life element and to tell a story.

The name of the family of which I speak was Da Ponte, but it was called Bassano, from the birth-place of Jacopo da Ponte Bassano (1510-1592), the father, who was the most important of the family. He studied in Venice, but returned to his native town. His portraits are fine; among them are those of the Doge of Venice, Ariosto, and Tasso. His works are very numerous and are seen in all galleries. He introduced landscapes and animals into most of his pictures, sometimes with great impropriety.

We come now to Antonio Allegri, called Correggio (1493-1534), who was born at the end of the fifteenth, but did his work in the beginning of the sixteenth century. His name of Correggio is that of his birth-place, and as he was not born at any of the great art centres, and did not adopt the precise manner of any school, he, with his followers, stand by themselves, and yet, because his principal works were done at Parma, he is sometimes said to be of the school of Parma.

When Correggio was thirteen years old he had learned to draw well. He studied under Andrea Mantegna and his son Francesco Mantegna. From these masters he learned to be very skilful in drawing, especially in foreshortening, or in representing objects seen aslant. But though he learned much of the science of art from his teachers, his grace and movement and his exquisite light and shade are all his own, for they did not possess these qualities.