Gaudenzio FerrariG. Bell & Sons, 1904 - 148 pages |
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Page 6
... period show how completely Gaudenzio was the outcome of the old Milanese School , and it is not till much later that he allows the influence of the late Renaissance to infect his art , and , unfortunately , to destroy its charm . The ...
... period show how completely Gaudenzio was the outcome of the old Milanese School , and it is not till much later that he allows the influence of the late Renaissance to infect his art , and , unfortunately , to destroy its charm . The ...
Page 7
... period , from 1509 to 1513 , the Novarese district was particularly unsettled , and prob- ably for this reason we find Gaudenzio working either at Varallo or in the Lake districts . Part of the frescoes in the Church of San Giulio , on ...
... period , from 1509 to 1513 , the Novarese district was particularly unsettled , and prob- ably for this reason we find Gaudenzio working either at Varallo or in the Lake districts . Part of the frescoes in the Church of San Giulio , on ...
Page 8
Ethel Halsey. on the Lake of Orta , belong to this period . Though quite ruined by damp and repainting , they have much in common with the frescoes in the Chapel of St. Margaret . * Towards the beginning of 1512 he must have begun the ...
Ethel Halsey. on the Lake of Orta , belong to this period . Though quite ruined by damp and repainting , they have much in common with the frescoes in the Chapel of St. Margaret . * Towards the beginning of 1512 he must have begun the ...
Page 9
... period was at Pavia , and there is indirect evidence of a meeting there . Leonardo had gone to Rome in 1513 , and in 1515 he was at the French Court at Pavia . In 1516 he left Italy for good . Francis I. strove to bring back the golden ...
... period was at Pavia , and there is indirect evidence of a meeting there . Leonardo had gone to Rome in 1513 , and in 1515 he was at the French Court at Pavia . In 1516 he left Italy for good . Francis I. strove to bring back the golden ...
Page 11
... period , it cannot have come from his brush . In its present blackened condition , all that can be said is that the date is probably correct , and that it came from Gau- denzio's atelier . The use of gesso on the mantle of the Madonna ...
... period , it cannot have come from his brush . In its present blackened condition , all that can be said is that the date is probably correct , and that it came from Gau- denzio's atelier . The use of gesso on the mantle of the Madonna ...
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Common terms and phrases
altar altar-piece ancona angels Annunciation Arona artists attributed to Gaudenzio background beautiful belonging Bergamo Bernardino Lanino Borgognone Borgosesia brush cartoons carved Cathedral Catherine centre Cerva Chapel of St charming chiaroscuro Christ Church of San Circa composition Correggio Crucifixion cupola decoration denzio depicted draperies drawing Edition Engraved by Piannezza executed face feet 6 inches figures finished Flight into Egypt frescoes G. C. WILLIAMSON Gaudenzio Ferrari Gaudenzio signed Gerolamo gesso Giovanni head Holy Family Illustrations influence injured kneeling Last Supper later Leonardo light Lomazzo Lombard Luini lunette Madonna and Child Magdalen ment Milan Milanese School modelling Morbegno Museum Novara Oil on wood original painted painter Pavia period Photogravure Photogravure Plates Pietà portrait predella probably putti recalls representing the Madonna robes Sacro Monte saints San Cristoforo San Gaudenzio Santa Maria Saronno scenes shows Signor technique Turin Turin Gallery Valduggia Valsesia Varallo Vercelli Virgin wall