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30 paintings by Marc Chagall PDF

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By Marc Chagall

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The Master of the Pirano altar┬Ěpiece. polyptych. Museum, Leece. Photo ~rinist. del. Pnbbl. Istr. VENICE AND THE NEIGHBOURING REGIONS. 25 blance which exists between the lateral figures of this polyptych - especially the two nearest the Virgin - and those at Pirano, not only in their attenuated from but also in their hard ascetic aspect, is sufficient to confirm our supposition that they are from the same hand. Although a certain number of individual characteristics, among them the attenuation of his figures, reveals the "Master of Chioggia's" independence, the most important factor in his painting is the influence of Maestro Paolo, whose most faithful pupil we can certainly consider him to be.

Above each lateral panel is a smaller one containing a bust of a saint; the one over the Madonna is missing. The marked resem(') Caprin, L'Istria nobilissima, Part II, p. 58. The Same, L'Istria e la Dalmazia, Bergamo, p. 36. (2) S. de Ricci, Description raisonnee des peintures du Louvre, I, Paris, 1913, p. 146. H. Rachon, Le musee de Toulouse, Toulouse, 1906, p. 38. P. Perdrizet et R. jean, La Galerie Campana et les musees francais, Bordeaux, 1907, p. 32. Cavalcaselle read the date as 1354. (3) This polyptych has been attributed to Jacobello del Fiore: o.

Cicogna, after giving a fac-simile of the date (3), persists in contradicting the old authors, such as Zanetti and Zucchini, who read the date as 1358, and believes that the year inscribed on the picture is that of 1367. Signor Testi is inclined to accept this version with which he finds the manner of painting corresponds, but I think the contrary opinion is much more likely to be correct, because, not only do we find in this picture the characteristic proportions that Lorenzo borrowed from the Master ofChioggia but the figures of the Annunciation in the centre resemble much more those of the Marriage of St.

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