Studies the meaning of Titian's Feast of Venus (Madrid, Prado) for neo-Venetian painting in Rome in the 1620s and 30s; argues that Poussin, Duquesnoy, and Testa were attracted not only to the naturalism of the Venetian manner but particularly to the sentimental quality of tenerezza that Titian expressed through his putti, and relates this to the new emphasis on lyricism of expression in contemporary Italian poetry, exemplified by G.B. Marino.
Sauf mention contraire ci-dessus, le contenu de cette notice bibliographique peut être utilisé dans le cadre d'une licence CC BY 4.0 / Unless otherwise stated above, the content of this bibliographic record may be used under a CC BY 4.0 license