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GIOVANNI ANTONIO BAZZI, or Sodoma, as he is more commonly called, is one of the most interesting of that large group of lesser-known artists, who helped to make the Renaissance the widespread and penetrating movement which it became.
Sodoma In Monte Oliveto
WE now come to that series of frescoes in the surrounding country, in which, as we have already noticed, Sodoma's artistic personality seems to have first fully asserted itself. In 1503 he was given his first important commission, which was to paint in fresco the two end walls of the little convent of St. Anna in Creta, not far from San Quirico.
Sodoma In Rome
IT is certain that Sodoma left Monte Oliveto more fully in possession of his faculties as an artist than when he went there. He had left the mediŠval manner behind him, and might now take rank among the moderns. He is entirely modern in the fresco in the Vatican, which is the next work which we can trace.
Success At Siena Of Sodoma
MILANESI believes that it was soon after his second Roman visit that Sodoma went first to stay at Piombino, a little seaport town at the extreme end of the promontory of Populonia. Its prince was one of the Appiano family, originally from Pisa, who had obtained possession of the land towards the close of the fourteenth century.
Unknown Period, And Return To Siena Of Sodoma
AFTER the commencement of the San Bernardino frescoes Sodoma disappeared from Tuscany, and an amount of uncertainty has gathered round his doings during the next seven years. There are no more documents concerning him to be found at Siena till 1525, and the political condition of the city was just then very unfavourable to artistic work.
Later Years Of Sodoma
SODOMA had worked hitherto for private patrons, or at best for ecclesiastical communities. Of municipal commissions he had received none as yet, and it was only in 1529 that the city gave him his first large public order in the painting of the walls of their council chambers.
General Character Of Sodoma
IN addition to the long list of frescoes and paintings which we have already considered and about which we have been able to obtain contemporary information, there still remains to be noted a small number of minor works, of but little relative value as examples of his art, but bearing some historical importance.
Life Of Sir David Wilkie Early Years
UNTIL the beginning of the nineteenth century Scotland cannot be said to have produced any artist of original talent to compare with those of England. Scotland could boast, indeed, of some good portrait painters in the eighteenth century, amongst whom Allan Ramsay was preeminent.
Sir David Wilkie - Edinburgh And London
WRITING to Wilkie's father on the eve of the son's return to Cults, his master Graham said of him that none of his pupils were more desirous to learn, or so attentive when I gave my opinion, as your son David. And this desire to learn, this attention to advice or criticism were in no small measure the causes of the painter's after success.
Sir David Wilkie - Notable Early Works
THE BLIND FIDDLER, painted by Wilkie in 1807, when he was only twenty-two years old, is in many ways as extraordinary a work of youthful genius as Paul Potter's famous Young Bull at the Hague, painted by that artist when he was three and twenty. Fortunately the picture by Wilkie is now in the National Gallery, having been given to the nation by Sir George Beaumont...
Sir David Wilkie - Chief Pictures
During all that autumn and winter Wilkie worked hard. He had left his old lodgings and taken others at Knightsbridge. His next work was that known as The Village Festival, painted for Sir George Beaumont, and now in the National Gallery. Whilst it was in progress he was also engaged upon a smaller picture which he called The Wardrobe Ransacked, but this was one of his decided failures.
Sir David Wilkie - Scottish Honours
WILKIE next finished a painting commissioned by Lord Stafford entitled The Breakfast, of which he writes in the month of April, 1817 : I think it will make an impression, but I almost grudge the long time it has taken me. This admirable painting is now at Trentham...
Sir David Wilkie - Switzerland, Italy And Spain
WILKIE first tried a visit to Cheltenham in the spring of that year (1825), but the place seemed to benefit him but little. His sorrows were too recent for anything but a radical change to bring him out of the depression into which he had sunk...
Sir David Wilkie - Latest Works
THIS year of 1829 was a busy one with Wilkie, and after a considerable amount of work in London he went to Scotland to finish his picture of The Entry of George IV. into Edinburgh. Sir Thomas Lawrence died early in the January of 1830, and whilst the election of his successor to the Presidency of the Academy was pending the King appointed Wilkie his Painter in Ordinary.
Sir David Wilkie - Etchings
NO account of Wilkie's life work would be in any way complete without some reference to his etchings, which are very rare. In 1825 Wilkie had some copies printed of seven etchings he had made, for presentation to the King and to his principal patrons.
Sir David Wilkie - A Note On Wilkie's Methods
THERE are some interesting remarks written by John Burnet, the engraver of many of Wilkie's paintings, in one of his Essays on the Fine Arts, from which we learn that many of Wilkie's early pictures were painted on canvas, but that he preferred to work on panels which had been rendered absorbent by being rubbed over with drying oil and turpentine.
Drama As A Social Force
WE are so prone to pin our faith to terms, that we are quite in danger of receiving a distorted idea of drama as art, and of the theatre as a social institution. It is well to note that frenzied drama has been tried and found wanting. After all, it is bad economics to shut one's eyes to the character of popular, average returns on one's investments.
Essentials Of An American Play
WE hear much about the American dramatist; we are always denying him, and at the next turn we are discovering him. Some critics proclaimed with much assurance that William Vaughn Moody had reached the goal in The Great Divide, but it was only notable in its suggestion of largeness...
Trend Of American Drama From 1750 To 1870
ITHE amusement world is large enough to foster repertory houses, for America cannot afford to let dramatic material go to waste. Certain excellent quality in the satire of Charles Hoyt's farces should be rehabilitated, and there is no doubt that Edward Harrigan's Irish fun was fraught with a genuineness that should be perpetuated.
Our Literary And Our Closet Drama
DRAMATIC history clearly demonstrates to the student that while it is not necessary for a play to be literature, any play that is true to the essentials of that segment of life with which it deals cannot help but be literature. Yet neither proposition implies that in order to be literature, drama needs must sacrifice its fundamental moving and progressive character.
Bronson Howard: Dean Of The American Drama
As Dean of the American Drama, Bronson Howard occupies a most significant position.
James A. Herne And The Realistic Drama
IT is rarely that the American people have touched the soil in literature, but when they have, the result has been of the most distinctive order. As a nation, we are too young to have realized any large and original problems in literature.
David Belasco And The Psychology Of The Switchboard
THE story is told of an artist who, in the cramped quarters of his room, was wont to do the most exquisite pictures, marked by finesse and delicacy; but no sooner had he ac-cumulated enough to afford a larger studio than the deftness of his art deserted him. It is one of the unexplainable points about all professions that there is a limit to expression...
Case Of Percy Mackaye And His Father
NOT only has the drama an historical evolution, but, like any other human activity, it is subject to inherited traits, and is influenced by the spirit of the age. Ibsen believed in the theory of imbibing the thoughts that were in the air, rather than in limiting those thoughts by an amount of contradictory reading.
Cardboard Play And The Well Made Play
THERE is no strict grievance against the outward excellence of the cardboard play. It is planned according to the latest devices, and its structure is pleasing to the eye. Yet it is like a house untenanted, like a shell without the kernel.
Concerning Clyde Fitch And The Local Sense
THERE are three important elements involved in the writing of a play: the sense of situation, the sense of characterization, and the sense of dialogue.
Concerning Melodrama
THE use of the term melodrama has undergone many changes, and it is a question whether at the present moment it is not being subjected to another modification or crucial shifting of the point of view. Such a bastard form of art has it been regarded by the majority of theatre-goers, that one has lost sight of its origin in the sixteenth century, and of the romantic stock from which it sprang.
Kinetoscopic Theatre
ITHE kinetoscopic theatre is at the parting of the ways. The crucial point has arrived when it shall either be a great success or an absolute failure. In New York alone, people have been flocking through the gaudy, blatant entrances at the rate of two hundred thousand a week.
Should The Poetic Drama Be Dramatized?
WE are being constantly reminded of the inadequacy of the so-called poetic drama to fill the essential demands of the theatre; and, whenever the poetic drama fails to hold the boards, we are prone to deplore the insufficiency of public taste.
Sunlight, Moonlight, And Footlight
IT is a healthy condition for us to have reached in draina, when we become conscious of its presence in the community, and when we are furthermore made aware of its power, both positive and negative.
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