Word: periodicities
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Dates: during 1890-1899
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...Correggio we find the consummation of the period. The beauty of the classic and religious motives appear to perfection in his paintings. His characters were sensuous but never sensual. Correggio was litte affected by the great movements of his time. He was one of the very greatest of the Renaissance painters, and it is a singular thing that he painted and died almost in obscurity...
...time of the higher Renaissance in Florence, he said, was the sixteenth century. This was a period in which all Italy was undergoing a great change. For the first time since the fall of Rome Italians were beginning to feel an interest in science and philosophy, to look to reason rather than to religion for explanation and for truth. Still the age was in a way a religious age, though the religion was of the intellect rather than of the heart. But while the character of the race was rising from an intellectual point of view it was deteriorating...
...reflects always the ideas and feeling of the time. So, as we should expect, we find the art of this period in Florence is intellectual, perhaps somewhat dry. The work of the best artists of this time is in general harsh and severe. There are no soft color effects but the greatest productions are masterpieces of construction and line work. The coloring is usually far from pleasing, it seems even as if the artists had tried to give crude color effects as increasing the severity of the composition...
...with its surroundings. He was a harmonist, a unity of many things. He established no special element in the Renaissance but he put together the best of everything in an inimitable way. His one weakness was in brush work, but this fault was universal in all artists of the period...
...first see the Umbrians in this rough, unpolished state, clinging to their provincial ideas of sentiment, but influenced more and more by the superior learning and technical skill of Florence. Piero Fanasca was a representative of this period. By his powerful use of outline in the human figure, for he was more of a draughts man than a painter, he helped in the formation of Raphael's style. Perigino, however, was the real forerunner of Raphael. His subjects are said to have bodies belonging to the Renaissance, but souls of the middle ages. His paintings are known for their grace...