Luca Signorelli - 1901 Author:Maud Cruttwell Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CHAPTER II DEVELOPMENT AND CHARACTERISTICS OF HIS GENIUS 'T'HE foregoing chapter contains only a bare record of certain facts in the life of Luca Signorell... more »i. Fortunately time has spared many of his paintings, and in the study of these we get a fuller insight into his nature and his aims. A man's work is, after all, the most satisfactory and reliable document for those who take the pains to decipher it—the autobiography which every man of genius bequeaths to posterity. We have seen how by good fortune he was placed as a child to study painting under Pier dei Franceschi, who was of all men most able to bring out in his pupils the finer instincts and nobler qualities of their genius. By his guidance and example, no doubt, Signorelli cultivated his natural breadth of conception and of treatment, which give grandeur and impressive solemnity to all his works, besides acquiring the technical excellences of good drawing, solid modelling, and the broad massing of the shadows, which are so characteristic of Piero's own painting. The spirit of master and pupil was fundamentally alike, the chief points of dissimilarity in their work arising from minor divergences of temperament. Both were men of robust mind, with a message of resolute purpose to deliver. Both chose to express themselves through the medium of the human form in its most vigorous aspects, and were, therefore, pre-occupied with mastering its structure. But while Piero, with a serene nature, chose to represent unemotional figures like the sculptures of the ancient Egyptians, the restless and impetuous spirit of Signorelli preferred scenes of violent action, and energetic movement. It was, perhaps, the entire affinity of their temperament, as well as his passion for anatomical study, which led him to choose his second m...« less