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Carlo Dolci
Masterpieces in Colour Series
Carlo Dolci
Masterpieces in Colour Series
Carlo Dolci
Masterpieces in Colour Series
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Carlo Dolci Masterpieces in Colour Series

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Release dateNov 26, 2013
Carlo Dolci
Masterpieces in Colour Series

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    Book preview

    Carlo Dolci Masterpieces in Colour Series - T. Leman Hare

    The Project Gutenberg EBook of Carlo Dolci, by George Hay

    This eBook is for the use of anyone anywhere at no cost and with

    almost no restrictions whatsoever.  You may copy it, give it away or

    re-use it under the terms of the Project Gutenberg License included

    with this eBook or online at www.gutenberg.org

    Title: Carlo Dolci

           Masterpieces in Colour Series

    Author: George Hay

    Editor: T. Leman Hare

    Release Date: January 13, 2013 [EBook #41836]

    Language: English

    *** START OF THIS PROJECT GUTENBERG EBOOK CARLO DOLCI ***

    Produced by sp1nd, Charlie Howard, and the Online

    Distributed Proofreading Team at http://www.pgdp.net (This

    file was produced from images generously made available

    by The Internet Archive)

    Transcriber's Note:

    On some devices, clicking an illustration will display it in a larger, higher-quality format.


    MASTERPIECES

    IN COLOUR

    EDITED BY

    T. LEMAN HARE

    CARLO DOLCI


    In the Same Series

    Others in Preparation.


    PLATE I.—VIRGIN AND CHILD (Frontispiece).

    This work, which is the only one by Dolci in the National Gallery, represents the Virgin presenting flowers to the Divine Infant. In composition and drawing it is one of the most happy efforts of Dolci. A small canvas of 2 feet 6 inches, it came into the possession of the National Gallery in 1876 through the Wynn Ellis bequest.


    CARLO DOLCI

    BY GEORGE HAY

    ILLUSTRATED WITH EIGHT

    REPRODUCTIONS IN COLOUR

    LONDON: T. C. & E. C. JACK

    NEW YORK: FREDERICK A. STOKES CO.


    CONTENTS


    LIST OF ILLUSTRATIONS


    I

    INTRODUCTION

    I F , in dealing with the life and work of Carlo Dolci, a writer sets down an apology by way of preface, it is in recognition of the fact that the art form of this painter, for all that it is serious and beautiful, is one of the first that we outgrow. There are artists in plenty, and their names are written large in the roll of fame, whose work makes no immediate appeal to us. Rembrandt, Velazquez, Tintoretto, one and all must be approached with an eye that has received some measure of training, and then the beauty of their work brings perennial enjoyment, though

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