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The Venetian School of Painting   By: (-1915)

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The book I recently read, written by Evelyn March Phillipps, is a comprehensive exploration of the Venetian School of Painting. This remarkable work provides a captivating journey through the rich artistic heritage of Venice, shedding light on the painters who emerged from this influential period and their distinctive techniques.

One of the great strengths of this book is its meticulous attention to detail. The author takes great care in delving deep into the historical context in which these artists thrived, revealing the social, political, and cultural factors that shaped the Venetian School. By doing so, Phillipps offers a nuanced understanding of the artistic developments that occurred during this time.

Moreover, the author expertly analyzes the technical aspects of the Venetian painters' works. Through a combination of clear language and insightful commentary, readers gain a profound appreciation for the immense skill and innovation that characterized this school of painting. Whether discussing the play of light and shadow or the use of color, Phillipps illustrates the unique contributions made by artists such as Titian, Tintoretto, and Veronese.

Furthermore, the book also contextualizes the Venetian School within the broader artistic movements of the time. Phillipps artfully connects the dots between the vibrant artistic exchanges between Venice and other centers of creativity, such as Florence and Rome. This perspective adds depth to the narrative, highlighting the interconnectedness of the Renaissance period and the impact it had on the Venetian painters.

In terms of structure, the book is well-organized, with each chapter building upon the previous one to create a cohesive and engaging narrative. It seamlessly combines thorough research with captivating anecdotes, making it accessible to both scholars and casual readers alike.

While the book provides a valuable and extensive examination of the Venetian School and its masterpieces, one possible drawback lies in its heavy emphasis on historical analysis. Occasionally, this focus on contextual details may feel overwhelming, potentially detracting from the essence of the paintings themselves. However, this is a minor concern that does not greatly impact the overall quality and value of the book.

In conclusion, Evelyn March Phillipps' The Venetian School of Painting is a highly commendable and informative book, offering a well-researched exploration of this influential artistic movement. Through Phillipps' insightful commentary and extensive knowledge, readers are transported to the vibrant streets of Venice, witnessing the birth and evolution of an artistic tradition that still captivates people to this day. From art enthusiasts to historians, this book is an essential addition to anyone interested in the Venetian School of Painting and its profound impact on art history.

First Page:


[Illustration: Giorgione. MADONNA WITH S. LIBERALE AND S. FRANCIS. Castelfranco. ( Photo, Anderson. )]




With Illustrations

Books for Libraries Press Freeport, New York

First Published 1912 Reprinted 1972

International Standard Book Number: 0 8369 6745 3 Library of Congress Catalog Card Number: 70 37907

Printed in the United States of America By New World Book Manufacturing Co., Inc. Hallandale, Florida 33009


Many visits to Venice have brought home the fact that there exists, in English at least, no work which deals as a whole with the Venetian School and its masters. Biographical catalogues there are in plenty, but these, though useful for reference, say little to readers who are not already acquainted with the painters whose career and works are briefly recorded. "Lives" of individual masters abound, but however excellent and essential these may be to an advanced study of the school, the volumes containing them make too large a library to be easily carried about, and a great deal of reading and assimilation is required to set each painter in his place in the long story. Crowe and Cavalcaselle's History of Painting in North Italy still remains our sheet anchor; but it is lengthy, over full of detail of minor painters, and lacks the interesting criticism which of late years has collected round each master... Continue reading book >>

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