"Correggio" Quotes from Famous Books
 ... wayside things, which invested these poems as wholes with a peculiar richness, depth, and majesty of tone, beside which both Keats's and Wordsworth's methods of handling pastoral subjects looked like the colouring of Julio Romano or Watteau by the side of Correggio or Titian. ...
— Literary and General Lectures and Essays • Charles Kingsley
... any other sense for it than the disposition of the light and shade in a picture. The inventor of it, for practical use, was Leonardo da Vinci. Of this chiaroscuro he says: "It is this, in fine, against which so many renowned Italian masters have sinned, but in which the immortal Correggio is so eminently distinguished, and which proves how they err who have named Titian the prince of colourists. For how much soever he may possess in a supreme degree very many other parts of colouring, he has so misunderstood this one in his general harmony, that his grounds are rarely ...
— Blackwood's Edinburgh Magazine, Volume 58, Number 360, October 1845 • Various
... purpose, concluded his compliments by an eulogy on painting, and smiled him affectionately to the door. Sir Joshua left him, to call upon the other. That one received him with respectful civility, and behaved to him as he would have behaved to an equal in the peerage:—said nothing about Raphael nor Correggio, but conversed with ease about literature and men. This nobleman was the Earl of Chesterfield. Sir Joshua felt, that though the one had said that he respected him, the other had proved that he did, and went away from this one gratified rather than from the first. Reader, there is wisdom in this ...
— The Laws of Etiquette • A Gentleman
... expression which belongs to the softer pictures of Correggio—of that great master, whose name is associated in every one's mind with all that is gentle or delicate in the imitation of nature. Perhaps it was from the force of this impression that his works did not completely ...
— Travels in France during the years 1814-1815 • Archibald Alison
... see the perfection to which the painter attained (armed as he was with triple power), go to the Louvre and look at the Baccio Bandinelli portrait; you might place it beside Titian's Man with a Glove, or by that other Portrait of an Old Man in which Raphael's consummate skill blends with Correggio's art; or, again, compare it with Leonardo da Vinci's Charles VIII., and the picture would scarcely lose. The four pearls are equal; there is the same lustre and sheen, the same rounded completeness, the same brilliancy. ...
— Cousin Pons • Honore de Balzac
... here are from the hand of Correggio: the early small panel of Madonna and Child with Angels (1002), once ascribed to Titian, a naive and charming little work; the Repose in Egypt (1118), grave and beautiful enough, but in some way I cannot explain a little disappointing; and the Madonna adoring her little Son (1134), which ...
— Florence and Northern Tuscany with Genoa • Edward Hutton
... love—that we should not love only those persons whom we can respect, for true love seeks no profit. It must be totally free from the prospect of gain. A beautiful face inspired another lyric in this volume, and Browning drew upon his memories of Correggio to give the ...
— Robert Browning: How To Know Him • William Lyon Phelps
... true, do not arise out of mere shadows. Usually they have a foundation in some fact or modification. What they fail in is, in the just interpretation of these truths, and in the reading of their higher relations. 'The Correggiosity of Correggio' was precisely meant for Valckenaer. The Sophocleity of Sophocles he is keen to recognise, and the superiority of Sophocles as an artist is undeniable; nor is it an advantage difficult to detect. On the other hand, to be more Homeric than Homer ...
— The Posthumous Works of Thomas De Quincey, Vol. 1 (2 vols) • Thomas De Quincey |
