![]() ![]() In 1897 Bernard Bernard Berenson wrote in his Florentine Painters: "Both were, as artists, little more than mediocrities with almost no genuine feeling for what makes painting a great art."2 Precisely what had been prized in Ghirlandaio, his portraits and his capacity for mimesis in the details, was now held against him. Yet only thirty years later the page had turned. both in the lines of the composition and in the technical execution of the fresco." He received the highest praise from Archibald Joseph Crowe and Giovanni Battista Cavalcaselle in 1864, who said his "life forms, like that of Giotto, one of the great landmarks in the history of Florentine art."1 ![]() For Giorgio Vasari, Ghirlandaio was an artist "who, from his talent and from the greatness and the vast number of his works, may be called one of the most important and most excellent masters of the age." and Jacob Burckhardt praised him in a comparison with Filippino Lippi: "he surpasses. His reputation survived undiminished from Vasari to Burckhardt. ![]() Even if their creator, Domenico Ghirlandaio, was never reckoned one of the very greatest, he was highly regarded for his ability to carry out extensive fresco commissions and for his craftmanship. The monumental fresco decorations of the Sassetti Chapel, the Tornabuoni Chapel, and the Sala dei Gigli in the Palazzo Vecchio number among the most important commissions of their type of the last decades of the quattrocento in Florence. CADOGAN Domenico Ghirlandaio: Artist and Artisan New Haven: Yale University Press, 2000. ![]()
0 Comments
Leave a Reply. |