"Caravaggio" Quotes from Famous Books
 ... paintings on the vault of the choir are by Pinturicchio. The two marble monuments are, from their perfection of design and execution, reckoned among the best modern works. They are by Cantucci da S. Savino. In the chapel following is an "Assumption" by Annibale Carracci; the side pictures are by Caravaggio. The last chapel but one in the small nave is the Chigi chapel, and is one of the ...
— Italy, the Magic Land • Lilian Whiting
... Bolognese school. The fame of the young painter spread beyond his native village, and in 1615 he removed to Bologna, where his paintings were much admired. His first style was formed after that of the Caracci; but the strong colouring and shadows employed by Caravaggio made a deep impression on his mind, and for a considerable period his productions showed evident traces of that painter's influence. Some of his latest pieces approach rather to the manner of his great contemporary Guido, and are painted with more lightness and clearness. Guercino ...
— Encyclopaedia Britannica, 11th Edition, Volume 3, Part 1, Slice 3 - "Banks" to "Bassoon" • Various
... master and became more Spanish than the Spanish. Ribera, emotional, dramatic, realistic, religious, could sound the chords of tenderness without the sentimentalism of Murillo. Goya stems more from Caravaggio and Salvator Rosa than from any of his predecessors, except Velasquez. The presence of Tiepolo, the last of the Venetians, in Spain may have influenced him. Certainly Raphael Mengs, the "Saxon pedant," did not—Mengs associated with Tiepolo at Madrid. It is in company with the bravos of ...
— Promenades of an Impressionist • James Huneker
... bright colour is, I think, for the most part, mere affectation, and must soon be done away with. Vulgarity, dulness, or impiety, will indeed always express themselves through art in brown and grey, as in Rembrandt, Caravaggio, and Salvator; but we are not wholly vulgar, dull, or impious; nor, as moderns, are we necessarily obliged to continue so in any wise. Our greatest men, whether sad or gay, still delight, like the great men of all ages, in brilliant hues. The colouring of Scott and Byron is full ...
— Selections From the Works of John Ruskin • John Ruskin
... Masterpieces! Oh me, what drivelling wretches we are! Fame!—except that of just the one or two—what's the use of it? I say, Pen, would you feel particularly proud now if you had written Hayley's poems? And as for a second place in painting, who would care to be Caravaggio or Caracci? I wouldn't give a straw to be Caracci or Caravaggio. I would just as soon be yonder artist who is painting up Foker's Entire over the public-house at the corner. He will have his payment afterwards, five shillings ...
— The Newcomes • William Makepeace Thackeray |
