By John C. van Dyke
John Charles van Dyke (1856-1932) was once an American paintings historian and critic. He used to be born at New Brunswick, N. J., studied at Columbia, and for a few years in Europe. together with his booklet chronicling the background of portray from cave work to the fashionable period. absolutely illustrated.
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Additional info for A Text-Book of the History of Painting (Illustrated Edition)
The painters studied them, but did not imitate them. Occasionally in such men as Botticelli and Mantegna we see a following of sculpturesque example—a taking of details and even of whole figures—but the general effect of the antique marbles was to impress the painters with the idea that nature was at the bottom of it all. They turned to the earth not only to study form and feature, but to learn perspective, light, shadow, color—in short, the technical features of art. True, religion was the chief subject, but nature and the antique were used to give it setting.
Squarcione's work has perished, but his teaching was reflected in the work of his great pupil Andrea Mantegna (1431-1506). Yet Mantegna never received the full complement of his knowledge from Squarcione. He was of an observing nature and probably studied Paolo Uccello and Fra Filippo, some of whose works were then in Paduan edifices. He gained color knowledge from the Venetian Bellinis, who lived at Padua at one time and who were connected with Mantegna by marriage. But the sculpturesque side of his art came from Squarcione, from a study of the antique, and from a deeper study of Donatello, whose bronzes to this day are to be seen within and without the Paduan Duomo of S.
He was among the first of his school to use that medium. His friend and fellow-worker, Pinturricchio (1454-1513), did not use oils, but was a superior man in fresco. In type and sentiment he was rather like Perugino, in composition a little extravagant and huddled, in landscape backgrounds quite original and inventive. He never was a serious rival of Perugino, though a more varied and interesting painter. ), who followed his master's style until the High Renaissance, when he became a follower of Raphael.