Sentence Examples


  • His colouring for the most part is unpleasing, partly owing to his violent treatment of skies with crude blues and orange, and his chiaroscuro usually is much exaggerated.
  • We may name, besides those already specified - in the Naples Museum, " St Euphemia," a fine early work; in Casa Melzi, Milan, the " Madonna and Child with Chanting Angels " (1461); in the Tribune of the Uffizi, Florence, three pictures remarkable for scrupulous finish; in the Berlin Museum, the " Dead Christ with two Angels "; in the Louvre, the two celebrated pictures of mythic allegory- " Parnassus " and " Minerva Triumphing over the Vices "; in the National Gallery, London, the " Agony in the Garden," the " Virgin and Child Enthroned, with the Baptist and the Magdalen," a late example; the monochrome of " Vestals," brought from Hamilton Palace; the " Triumph of Scipio " (or Phrygian Mother of the Gods received by the Roman Commonwealth), a tempera in chiaroscuro, painted only a few months before the master's death; in the Brera, Milan, the " Dead Christ, with the two Maries weeping," a remarkable tour de force in the way of foreshortening, which, though it has a stunted appearance, is in correct technical perspective as seen from all points of view.
  • The 16th century boasts the names of Bernardino Fungai, Guidoccio Cossarelli, Giacomo Pacchiarotto, Girolamo del Pacchia and especially Baldassare Peruzzi (1481-1537), who while especially celebrated for his frescoes and studies in perspective and chiaroscuro was also an architect of considerable attainments (see Rome); Giovanni Antonio Bazzi, otherwise known as 11 Sodoma (1477-1549), who, born at Vercelli in Piedmont, and trained at Milan in the school of Leonardo da Vinci, came to Siena in 1504 and there produced some of his finest works, while his influence on the art of the place was considerable; Domenico Beccafumi, otherwise known as Micharino (1486-1550), noted for the Michelangelesque daring of his designs; and Francesco Vanni.
  • It has been suggested that he deliberately eschewed chiaroscuro because his pictures, destined invariably to hang in an alcove, were required to be equally effective from every aspect and had also to form part of a decorative scheme.
  • Somewhat more successful has been an attemptinaugurated by Hashimoto GahO and Kawabata Gyokushoto combine the art of the West with that of Japan by adding to the latter the chiaroscuro and the linear perspective of the former.

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