By John C Van Dyke L H D

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He was medallist and painter both, worked with Gentile da Fabriano in the Ducal Palace at Venice and elsewhere, and his art seems to have an affinity with that of his companion. ) was at first a miniaturist, but afterward developed a larger style based on a following of Mantegna's work, with some Venetian influences showing in the coloring and backgrounds. Francesco Bonsignori (14551519) was of the Verona school, but established himself later at Mantua and was under the Mantegna influence. His style at first was rather severe, but he afterward developed much ability in portraiture, historical work, animals, and architectural features.

Bound by the conventionalities of his time he could still create a work of nobility and power. He came too early for the highest achievement. He had genius, feeling, fancy, almost everything except accurate knowledge of the laws of nature and art. His art was the best of its time, but it still lacked, nor did that of his immediate followers go much beyond it technically. ) was Giotto's chief pupil, a painter of much feeling, but lacking in the large elements of construction and in the dramatic force of his master.

Yet Mantegna never received the full complement of his knowledge from Squarcione. He was of an observing nature and probably studied Paolo Uccello and Fra Filippo, some of whose works were then in Paduan edifices. He gained color knowledge from the Venetian Bellinis, who lived at Padua at one time and who were connected with Mantegna by marriage. But the sculpturesque side of his art came from Squarcione, from a study of the antique, and from a deeper study of Donatello, whose bronzes to this day are to be seen within and without the Paduan Duomo of S.

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A Text Book of the History of Painting by John C Van Dyke L H D


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