The Florentine Painters of the Renaissance - With An Index To Their Works by Bernhard Berenson
page 41 of 191 (21%)
page 41 of 191 (21%)
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nature would do, _the consciousness_ of an unusually intense degree of
well-being. This task--the communication by means purely visual of feelings occasioned chiefly by sensations non-visual--is of such difficulty that, until recently, successes in the rendering of what is peculiar to landscape as an art, and to landscape alone, were accidental and sporadic. Only now, in our own days, may painting be said to be grappling with this problem seriously; and perhaps we are already at the dawn of an art which will have to what has hitherto been called landscape, the relation of our music to the music of the Greeks or of the Middle Ages. [Page heading: VERROCCHIO'S LANDSCAPES] Verrocchio was, among Florentines at least, the first to feel that a faithful reproduction of the contours is not landscape, that the painting of nature is an art distinct from the painting of the figure. He scarcely knew where the difference lay, but felt that light and atmosphere play an entirely different part in each, and that in landscape these have at least as much importance as tactile values. A vision of _plein air_, vague I must grant, seems to have hovered before him, and, feeling his powerlessness to cope with it in full effects of light such as he attempted in his earlier pictures, he deliberately chose the twilight hour, when, in Tuscany, on fine days, the trees stand out almost black against a sky of light opalescent grey. To render this subduing, soothing effect of the coolness and the dew after the glare and dust of the day--the effect so matchlessly given in Gray's "Elegy"--seemed to be his first desire as a painter, and in presence of his "Annunciation" (in the Uffizi), we feel that he succeeded as only one other Tuscan succeeded after him, that other being his own pupil Leonardo. |
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