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The painters of the school of Ferrara (1911) (14788258953)
Summary
Identifier: paintersofschool00gardrich (find matches)
Title: The painters of the school of Ferrara
Year: 1911 (1910s)
Authors: Gardner, Edmund Garratt, 1869-1935
Subjects: Painters -- Italy Ferrara Painters -- Italy Bologna Painting -- Italy Ferrara Painting -- Italy Bologna Ferrara (Italy) -- History Bologna (Italy) -- History
Publisher: London : Duckworth New York : Charles Scribner's Sons
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN
Text Appearing Before Image:
nal.), I. p. 201 n.« See below, Chapter IX. 68 THE SCHOOL OF FERRARA his pictures (in which practice he was imitated by hispupil Garofalo); but, with the exception of the altar-piece of 1503 from the church of S. Giobbe atFerrara, now in the collection of Herr von Kaufmannat Berlin/ seldom dates them. They exhibit littlevariation or progress. There is documentary evidencethat, in 1506, he executed a ceiHng-painting, probablymythological in subject, for the private room of thenew duchess, Lucrezia Borgia, in the Torre Marchesanaof the Castello Vecchio. This tela istoriata has naturallydisappeared. With the exception of two pictures atBerlin, the only work out of Italy attiibuted to himis a little panel of Our Lady adoring the DivineChild, in the Louvre, which has but slight resemblancewith his style, and which Mr. Berenson conjecturesmay possibly be an early painting of Ortolano. 1 Cf. Harck, Opffre di Maestri Ferraresi in raccolte private aBeJlino, in Arch. Stor. delVArtey I, p. 103.
Text Appearing After Image:
.Iiidcrsiin DoMKMCo rAM/rri MADONNA AND CIIII.D Modcna 7() l(tri i>(i(i<- 68 CHAPTER V LORENZO COSTA AND FRANCESCORAIBOLINI I The partnership between Costa and Francia marks an epoch in the history of painting in the EmiHan cities. These two men held much the same ^josition in the school of Ferrara at the end of the Quattrocento and beginning of the Cinquecento as Cosimo Tura and Francesco del Cossa had done in the seventies and eighties of the fifteenth century; from the school which they founded in Bologna most of the later Ferrarese and Bolognese painters proceeded. I^orenzo Costa has been called the Perugino of the Ferrarese school. Not only does he occupy a place in northern Italian art somewhat analogous to that of the great master of Perugia among the painters of Central Italy, but with him a softer spirit, a feeling and sentiment nearly akin to that of the Umbrians, finds its way into the more robust creations of the FYTrarese. This he probably owed, in some part, to his
Early Renaissance or Quattrocento (Italian mille quattrocento, or 1400) refers to the 15th century in Florentine art. Extraordinary wealth was accumulated in Florence among a growing middle and upper class of merchants and bankers. Florence saw itself as a city-state where the freedom of the individual was guaranteed, and where a significant share of residents had the right to participate in the government. In 1400 Florence was engaged in a struggle with the Duke of Milan. Then, between 1408 and 1414 again, by the King of Naples. Both died before they could conquer Florence. In 1425 Florence won the war against Milan. The Florentine interpreted these victories as signs of God's favor and imagined themselves as the "New Rome". In this new optimistic and wealthy environment, Florentine artists immersed themselves in studies of the humanities, architecture, philosophy, theology, mathematics, science, and design. They spurred a rejuvenation of the glories of classical art in line with the humanistic and individualistic tendencies of the contemporary era. Quattrocento was followed by the High Renaissance, North European Renaissance, Mannerism, and Baroque periods. Unlike the previous proto-renaissances, the innovations that emerged in Florence would go on to cause reverberations in Italy and Northern Europe, which continue to influence culture until today.
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