Bernard Berenson's Studies in Medieval Painting PDF

By Bernard Berenson

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In every other respect the artist displays equal science Just as, although human figure, you cannot you may refuse to accept you may question question his his skill in his limitations; canon of the rendering it, so but once you admit Early Paintings from Constantinople 7 them, you cannot deny that he knows exactly what he wants to do and does it to perfection. Contour, modeling, color, make the pictures what they are, as much as the tessere make a mosaic, and you cannot think of them as better or worse than the design.

In the mosaics of the Martorana at Palermo, de- workmen, you see her exact face and features, them again, rather coarsened, in the mosaics of a signed by Greek and you find somewhat later and poorer style at Monreale. We reproduce one example from each (Figs. 7 and 8). It is to be noted, by the way, how similar is the action and even the type of Child in the Monreale lunette and in the Kahn picture, and how, in turn, He is still nearer, both in type and expression, * This shape of throne lingered on in Russia till 1 to the urchins in a 600.

Color so gorgeous, so radiant, so pure as we have here is per- haps never seen in western painting of the earlier Middle Ages, and certainly not in anything that can be proved to have been done before the fourteenth century. But as resemblances to it are not so hard to establish in the dependent art of illuminated manuscripts, we may infer that this type of color was by no means un- known in painting. There is, however, one surviving form of eastern art to which it bears a startling resemblance in quality, the art of mosaic.

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Studies in Medieval Painting by Bernard Berenson

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