Imágenes de páginas
PDF
EPUB

OF

FRANÇOIS ROMANELLI.

François Romanelli was born at Viterbe, in 1617. A pupil of Pierre Berettini, his compositions were not so hot as his master's. His drawing though not very correct, is graceful enough; his colouring fresh and brilliant. He acquired early at Rome a great reputation, owing to the protection which the family of Barberini granted him; but, at the death of Pope Urbain VIII, he suffered for the disgrace that family underwent.

Romanelli came then to France, where he was employed by cardinal Mazarin to decorate his palace: he painted in 1651, the roof of his gallery where are now placed the manuscripts of the royal Library, and which yet bears the name of Galerie Mazarine, in which also it is said that the Queen dowager came with all her court to see him painting, he availed himself of that occasion, in drawing the figures of those Ladies that suited best the mythological subjects he represented. If, as is now said, the Library is removed and the building sold, it is to be hoped, at least, that before they are destroyed, the memory of those paintings will be preserved by engraving their compositions. After having finished the paintings of Mazarine palace, Romanelli was ordered to paint several halls in the Louvre, where are now seen the Antiques.

Romanelli returned to Rome, and died at Viterbe, in

NOTICE

SUR

ALEXANDRE TURCO.

Alexandre Turco, ou Turchi, naquit à Vérone en 1602. Il est connu sous le nom d'Alexandre Véronèse, à cause de sa ville natale, et aussi sous celui de l'Orbetto, soit que dans son enfance il ait été le conducteur d'un pauvre aveugle, probablement son père, soit que ce sobriquet lui soit venu de ce qu'il louchait un peu.

Félix Ricci voyant que Turco avait des dispositions pour la peinture, lui donna quelques leçons et l'accueillit chez lui. Il avait 23 ans lorsqu'il perdit son maître et son protecteur Ricci; alors il alla à Parme, à Venise et à Rome, où il étudia de Corrège et de Guido Reni.

les ouvrages

La couleur d'Alexandre Véronèse est belle et tient beaucoup de celle de l'école vénitienne : son pinceau est suave, mais ses draperies sont souvent faites d'une manière molle : son dessin n'est pas très-correct, surtout dans les figures nues et ses compositions manquent de mouvement, mais son coloris est plein de charme et de vigueur. On assure qu'il ne faisait aucune esquisse et qu'ayant sa composition dans sa tête il plaçait ses figures à côté l'une de l'autre, à mesure qu'il avançait dans son travail.

Turco ayant épousé une femme noble et très-belle, crut devoir par condescendance tenir une table somptueuse, et fit ainsi dans sa maison des dépenses au-dessus de ses moyens. Il mourut à Rome en 1648, âgé de 46 aus.

NOTICE

OF

ALEXANDRE TURCO.

Alexandre Turchi or Turco was born at Vérone, in 1602. He is known by the name of Alexandre Véronèse, on account of his native city, and likewise by that of Orbetto whether that in his childhood, having been the conductor of a poor blind-man, probably his father, or that this nick-name was given him because of his squinting a little.

Felix Ricci seeing that Turco had some dispositions for painting, gave him some lessons, and welcomed him at his house. He was 23 years old when he lost this kind protector, then he went to Parme, Venise and to Rome, where he studied the paintings of Corrège and Guido Reni.

The coloring of Alexandre Veronese is lively, and very much like the Venitian school: he has a sweet style, but his drapery is often drawn in a faint manner: his drawing is not very correct, especially his naked figures, and his compositions want movement, but his coloring is full of charm and vigour. It is asserted that he never made any sketches, having his composition in his head, he placed his figures at the side of each other, as he advanced in his work.

Turco having married a very handsome noble woman, thought it his duty out of complacency to his wife, to keep a splendid table, and made in his house great expenses far above his means.

SUR

THOMAS GUIDI, DIT MASACCIO.

Thomas Guidi naquit en 1401, à San-Giovanni, prės Florence. Le nom de Masaccio lui fut donné à cause de l'extérieur pauvre et négligé qu'il avait habituellement. Le peintre Masolino da Panicale fut son maître; il étudia aussi la sculpture sous Laurent Ghiberti, et Bruneleschi lui apprit la perspective.

Doué d'une haute intelligence, Thomas Guidi fit une révolution dans les arts, et sut, le premier, donner à ses figures de la vie, du mouvement et une expression convenable, suivant la situation où ses personnages se trouvaient placés. Michel-Ange et Raphaël l'ont étudié, et ce dernier peintre a même entièrement imité de lui son groupe d'Adam et Ève de la chapelle des Carmes.

Les troubles survenus à Florence engagèrent Masaccio à se rendre à Rome, où il profita des chefs-d'œuvre de l'antiquité, et peignit une fresque dans l'Église de Sainte-Marie-Majeure. Cosme de Médicis, son protecteur, ayant été rappelé à Florence, Masaccio s'empressa d'y retourner, et il eut à terminer plusieurs des travaux commencés par son maître Masolino da Panicale. Il fut ensuite chargé de peindre la chapelle des Carmes de Florence, et cet ouvrage, l'un des plus admirables de l'époque, est encore regardé comme une chose sublime.

Il travaillait encore à cette chapelle, lorsqu'il fut violemment attaqué d'un mal qui l'enleva subitement, ce qui fit penser qu'il avait été empoisonné.

Thomas Guidi mourut en 1443, âgé de 42 ans.

NOTICE

OF

THOMAS GUIDI, ALIAS MASACCIO.

Thomas Guidi was born in 1401, at San Giovanni, near Florence. The name of Masaccio was given him on account of the poorness of his undress which he usually appeared in. The painter Masolino da Panicale was his master; he also practised sculpture under Laurent Ghiberti, and Bruneleschi taught him also perspective.

Endowed with a high intellect, Thomas Guidi made a revolution in the arts, and was the first who knew how to give to his figures life, motion, and a suitable expression, according to the situation which his personages were placed in. Michel-Ange and Raphael have studied from him, the latter painter has even wholly imitated from him a group of Adam and Eve in the chapel of the Carmes.

induced

The troubles which happened at Florence Masaccio to go to Rome where he studied the master-pieces of antiquity and painted a fresco in the Church of St.-Marythe-Great. Cosme de Médicis, his protector having been called again to Florence, Masaccio made haste to return thither, where he finished several works begun by his master Masolino da Panicale. He was afterwards desired to paint the chapel of the Carmes at Florence, and that work, one of the most admirable of the epoch, is still looked upon as a sublime subject.

He was still working at that chapel, when he was suddenly seized with a violent illness which carried him off, that was the cause of thinking he had been poisoned.

« AnteriorContinuar »