Background
BERENSON, Bernhard was born on June 26, 1865. Son of Albert Berenson of Boston, United States of America.
(This is a pre-1923 historical reproduction that was curat...)
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(This is a reproduction of a book published before 1923. T...)
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(This scarce antiquarian book is a facsimile reprint of th...)
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("The Florentine Painters Of The Renaissance" by Bernhard ...)
"The Florentine Painters Of The Renaissance" by Bernhard Berenson. Florentine painting between Giotto and Michelangelo contains the names of such artists as Orcagna Masaccio Fra Filippo Pollaiuolo Verrocchio Leonardo and Botticelli. Put beside these the greatest names in Venetian art the Vivarini the Bellini Giorgione Titian and Tintoret. The difference is striking. The significance of the Venetian names is exhausted with their significance as painters. Not so with the Florentines. Forget that they were painters they remain great sculptors forget that they were sculptors and still they remain architects poets and even men of science. They left no form of expression untried.
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(This scarce antiquarian book is a facsimile reprint of th...)
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
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(This historic book may have numerous typos and missing te...)
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1902 edition. Excerpt: ... of perfectly combining values of touch with values of movement. Look, for instance, at Botticelli's "Venus Rising from the Sea." Throughout, the tactile imagination is roused to a keen activity, by itself almost as life heightening as music. But the power of music is even surpassed where, as in the goddess' mane-like tresses of hair fluttering to the wind, not in disorderly rout but in masses yielding only after resistance, the movement is directly life-communicating. The entire picture presents us with the quintessence of all that is pleasurable to our imagination of touch and of movement. How we revel in the force and freshness of the wind, in the life of the wave! And such an appeal he always makes. His subject may be fanciful, as in the "Realm of Venus " (the "Spring"); religious, as in the Sixtine Chapel frescoes or in the u Coronation of the Virgin "; political, as in the recently discovered " Pallas Taming a Centaur"; or even crudely allegorical, as in the Louvre frescoes,--no matter how unpropitious, howabstract the idea, the vivid appeal to our tactile sense, the life-communicating movement is always there. Indeed, at times it seems that the less artistic the theme, the more artistic the fulfilment, the painter being impelled to give the utmost values of touch and movement to just those figures which are liable to be read off as mere empty symbols. Thus, on the figure representing political disorder--the Centaur--in the "Pallas," Botticelli has lavished his most intimate gifts. He constructs the torso and flanks in such a way that every line, every indentation, every boss appeals so vividly to the sense of touch that our fingers feel as if they had everywhere been in contact...
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(Excerpt from The Study and Criticism: Italian Art The pa...)
Excerpt from The Study and Criticism: Italian Art The papers republished in this volume have appeared at various times during the last ten years. Some of them, like those, for instance, on Correggio, were written two or three years before they were printed. These particularly I cannot present in the more pretentious form of a book without a word of apology. Few will be more convinced of their crudity and their juvenility than I am. Yet they show signs of striving towards a critical method. In the first it is crassly Morellian, redeemed only, for me at least, by a touch of glamour, of the innocent illusion which in another form makes so many simple-minded people who have failed to find an aesthetic gospel in Ruskin, imagine a vain thing, and seek for it in the sterile prosings of the so-called connoisseurs. I see now how fruitless an interest is the history of art, and how worthless an undertaking is that of determining who painted, or carved, or built whatsoever it be. I see now how valueless all such matters are in the life of the spirit. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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(Some of them, like those, for instance, on Correggio, wer...)
Some of them, like those, for instance, on Correggio, were writtt ntwo or three years before they were printed. These particularly I cannot present in the more pretentious form of a book without a word of apology. Few will be more convinced of their crudity and their juvenility than I am. Yet they show signs of striving towards a critical method. In the first it is crassly Morellian, redeemed only, for me atieast, by a touch of glamour, of the innocent illusion which in another form makes so many simple-minded people vyho have failed to find an aesthetic gospel iu Ruskin, imagine a vain thing, ,and seek for it in the sterile prosings of the so-called connoisseurs. I see now how fruitless an interest is the history of art, and how worthless an undertaking is that of determining who painted, or carved, or built whatsoever it be. I see now how valueless all such matters are in the life of the spirit. (Typographical errors above are due to OCR software and don't occur in the book.) About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mythology. Forgotten Books' Classic Reprint Series utilizes the latest technology to regenerate facsimiles of historically important writings. Careful attention has been made to accurately preserve the original format of each page whilst digitally enhancing the aged text. Read books online for free at www.forgottenbooks.org
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BERENSON, Bernhard was born on June 26, 1865. Son of Albert Berenson of Boston, United States of America.
Studied at Boston Latin School. Harvard University.
(Excerpt from The Study and Criticism: Italian Art The pa...)
( This work has been selected by scholars as being cultur...)
(Some of them, like those, for instance, on Correggio, wer...)
(This is a pre-1923 historical reproduction that was curat...)
(The Florentine Painters of the Renaissance with an Index ...)
(The Venetian Painters Of The Renaissance With An Index To...)
(This scarce antiquarian book is a facsimile reprint of th...)
(This scarce antiquarian book is a facsimile reprint of th...)
("The Florentine Painters Of The Renaissance" by Bernhard ...)
(This historic book may have numerous typos and missing te...)
("let us look now at the even greater triumph of movement")
("let us look now at the even greater triumph of movement")
(This is a reproduction of a book published before 1923. T...)
(This is a reproduction of a book published before 1923. T...)
(This Is A New Release Of The Original 1904 Edition.)
(This Is A New Release Of The Original 1910 Edition.)
(Italian Studies, Renaissance Studies, Art Studies)
(The Study and Criticism of Italian Art (1901))
(The Study and Criticism of Italian Art V1)
(The Study and Criticism of Italian Art V2)
(Lang:- English, Pages 229. Reprinted in 2015 with the hel...)
(cloth 1916)
Spouse 1900, Mary Logan Costelloe, daughter of Robert Pearsall Smith of Philadelphia, United States.A.