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NOTICE

OF

JEAN ANTOINE LICINIO CORTICELLI,
ALIAS REGILLO AND PORDENONE.

Jean-Antoine Licinio Corticelli was born at Pordenone in 1484. It is not known who was his master; but it is thought that he observed at Udine the works of Pellegrino, and at Venice those of George Barbarelli.

There is not an artist who had so often his names altered; it is asserted that a brother, with whom he was at variance, shot at him one day with a gun, and this attempted assassination having in all likelihood caused a condemnation, he left off the name of Licinio for that one of Regillo, by which he is sometimes designed, but according to an ordinary use at that time, he more frequently went by that of Pordenone his native town.

Pordenone acquired at Venice such a high fame, that he was even looked upon as a dangerous rival to Titien, and Vasari who generally praises only the toscau artists, says that Pordenone excelled all those before him, altogether in the drawing, composition and coloring.

Most of his works are fresco paintings which are to be met with in the environs of Venice and in the Frioul. The emperor Charles V conferred on Pordenone the title of a Knight, and the Duke de Ferrarre Hercule II called him to his court; but he died in 1540, a few days after his arrival, which prompted some to think he had been poisoned.

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SUR

JEAN-ANTOINE LICINIO CORTICELLI,

DIT REGILLO ET PORDENONE.

Jean-Antoine Licinio Corticelli naquit à Pordenone en 1484. On ne sait quel fut son maître; mais on croit qu'à Udine il étudia les ouvrages de Pellegrino, et à Venise ceux de George Barbarelli,

Il n'est pas d'artiste dont les noms aient varié autant que les siens. On assure qu'un frère, avec lequel il était fortement en discorde, lui tira un jour un coup de fusil, et cet assassinat ayant apparemment causé une condamnation, il quitta le nom de Licinio, pour prendre celui de Regillo, sous lequel il est quelquefois désignė; mais, suivant un usage assez ordinaire à cette époque, il porta plus fréquemment encore le nom de Pordenone, sa ville natale.

Pordenone acquit à Venise une telle réputation, qu'il fut même regardé comme un rival dangereux pour Titien, et Vasari, qui ordinairement ne loue que les artistes toscans, dit que Pordenone surpassait tous ses devanciers dans la composition, le dessin et le coloris.

La plupart de ses travaux sont des peintures à fresques, qui se voient aux environs de Venise et dans le Frioul. L'empereur Charles-Quint donna à Pordenone le titre de chevalier, et le duc de Ferrarre, Hercule II, le fit venir à sa cour; mais il mourut en 1540 peu de jours après son arrivée, ce qui a fait penser que peut-être il avait été empoisonné.

NOTICE

OF

FRANÇOIS FURINI.

François Furini born at Florence in 1604, was a pupil of Roselli better known by the name of Manozzi, or even that of Jean de Saint-Jean, and was remarkable for the grace and delicacy he gave to his figures. His reputation extended beyond his own country being engaged to go to Venice to paint a picture of Thetis which was to accompany a picture of Europe, painted by Guido Reni.

Furini was very long in composing his pictures; when his practices were finished, he looked upon the performance as a thing not at all difficult.

About the age of forty, Furini took up the orders of priesthood, and became the vicar of Saint-Ansano, of Mugello, a little town in Tuscany; however, he did not leave his pencil. The master-pieces of this artist are a Saint-François stigmatized, and a Conception of the Virgin Mary, of a dazzling beauty and a true divine expression.

He has also made a Hylas ravished by the nymphs and a picture of the three Graces.

This painter did not only describe the nymphs of the fable, but also several times Madeleines which equally displayed as many gracious forms and as slightly veiled as those of the nymphs.

François Furini died in 1649.

SUR

FRANÇOIS FURINI.

François Furini naquit à Florence en 1604. Élève de Roselli, plus connu sous le nom Manozzi, où même de Jean de saint Jean, François Furini se fit remarquer par la grâce et la délicatesse qu'il donna à ses figures. Sa réputation s'étendit hors de sa patrie, puisqu'il fut appelé à Venise, pour y peindre un tableau de Thétis, qui devait servir de pendant à un tableau d'Europe peint par Guido Reni.

Furini mettait beaucoup de temps à la composition de ses tableaux. Lorsque ses études étaient terminées, il en regardait l'éxécution comme une chose sans difficulté.

Vers l'âge de quarante ans, Furini fut ordonné prêtre et il devint curé de Saint-Ansano, de Mugello, petite ville de Toscane; cependant il n'en continua pas moins à se servir de son pinceau. Les chefs-d'œuvre de cet artiste sont un saint François recevant les stigmates, et une Conception de la Vierge, figure resplendissante de beauté et d'une expression véritablement divine. Il a fait aussi un Hylas ravi par les nymphes et un tableau des trois Grâces.

Ce peintre ne s'est pas seulement occupé de représenter des nymphes de la fable; il a fait aussi plusieurs fois des Madeleines, qui offraient des formes aussi gracieuses et aussi peu voilées que celles de ses nymphes.

François Furini est mort en 1649.

NOTICE

OF

ANDRE MANTEGNA.

André Mantegna was born at Padoue in 1431 as abbot Zani has proved it; Mantegna was at first a shepherd and became a pupil to Squarzione, who out of great friendship adopted him, and bequeathed all his wealth to him. At 17 years old Mantegna painted a picture which gave him a great credit.

Having been at Venice, he married the daughter of Jacques Bellini, and improved his coloring by studying the paintings of that school. He afterwards went to Padoue and Verone, where he made several paintings of the history of Saint Zenon. Louis of Gonzagues having desired Mantegna to come to him, bespoke several pictures and created him a knight in 1468.

Pope Innocent VIII also called him to Rome, where he arrived in 1784; his studying then of antic statues afforded a happy change in his drawing. It was also at that time he undertook engraving, and as he was the first who exercised that art at Rome, he was often considered as the inventor of engraving.

The paintings of Mantegna are to be met with but in a few great collections, his engravings are also much songht after; even his handsome proofs are often paid very dear.

André Mantegna died at Mantoue in 1506, aged 75.

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