By John C Van Dyke L H D
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Extra resources for A Text Book of the History of Painting
Of Squarcione's other pupils Pizzolo (fl. 1470) was the most promising, but died early. Marco Zoppo (1440-1498) seems to have followed the Paduan formula of hardness, dryness, and exacting detail. He was possibly influenced by Cosimo Tura, and in turn influenced somewhat the Ferrara-Bolognese school. Mantegna, however, was the greatest of the school, and his influence was far-reaching. It affected the school of Venice in matters of drawing, beside influencing the Lombard and Veronese schools in their beginnings.
About the fifth century the figure grew heavy and stiff. A new type began to show itself. The Roman toga was exchanged for the long liturgical garment which hid the proportions of the body, the lines grew hard and dark, a golden nimbus appeared about the head, and the patriarchal in appearance came into art. The youthful Orphic face of Christ changed to a solemn visage, with large, round eyes, saint-like beard, and melancholy air. The classic qualities were fast disappearing. Eastern types and elements were being introduced through Byzantium.
His painting is of rather a harsh, exacting nature, and points to the influence of Padua, at which place he perhaps got his early art training. Borgognone (1450-1523) is set down as his pupil, a painter of much sentiment and spiritual feeling. The school was afterward greatly influenced by the example of Leonardo da Vinci, as will be shown further on. PRINCIPAL WORKS: FLORENTINES—Masaccio, frescos in Brancacci Chapel Carmine Florence (the series completed by Filippino); Masolino, frescos Church and Baptistery Castiglione d' Olona; Paolo Uccello, frescos S.
A Text Book of the History of Painting by John C Van Dyke L H D