Thus by continuously sacrificing very first spiritual, after which materials significance to pose and draperies, Andrea loses all experience to the fundamental in art. What a unfortunate spectacle is his “Assumption,” wherein the Apostles, the Virgin herself, have absolutely nothing far better to complete than to display away draperies! as opposed to feeling, as inside the existence of Titian’s “Assunta,” wrapt to heaven, you gaze with a quantity of tailor’s men, every displaying how a things you're considering of attempting appears to the back, or in the selected impact of light. But allow us not finish on this note; allow us bear in thoughts that, in spite of all his faults, Andrea painted the one particular “Last Supper” which could be seemed at with enjoyment following Leonardo’s.
Pontormo, who received it in him for being a decorator and portrait-painter for this largest rank, was led astray by his awe-struck admiration for Michelangelo, and ended being an educational constructor of monstrous nudes. What he could do when expressing himself, we see inside the lunette at Poggio a Caiano, as design, as colour, as fancy, the freshest, gayest, most correct mural decoration now remaining in Italy; what he could do like a portrait-painter, we see in his wonderfully decorative panel of Cosimo dei Medici at San Marco, or in his portrait of the “Lady which has a Dog” (at Frankfort), most likely the initial portrait actually painted where the sitter’s sociable location was insisted upon as a lot since the private character. What Pontormo sank to, we see in this kind of a riot of meaningless nudes, all caricatures of Michelangelo, as his “Martyrdom of Forty Saints.”
Pontormo, who received it in him for being a decorator and portrait-painter for this largest rank, was led astray by his awe-struck admiration for Michelangelo, and ended being an educational constructor of monstrous nudes. What he could do when expressing himself, we see inside the lunette at Poggio a Caiano, as design, as colour, as fancy, the freshest, gayest, most correct mural decoration now remaining in Italy; what he could do like a portrait-painter, we see in his wonderfully decorative panel of Cosimo dei Medici at San Marco, or in his portrait of the “Lady which has a Dog” (at Frankfort), most likely the initial portrait actually painted where the sitter’s sociable location was insisted upon as a lot since the private character. What Pontormo sank to, we see in this kind of a riot of meaningless nudes, all caricatures of Michelangelo, as his “Martyrdom of Forty Saints.”
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