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By Frans Antonie Stafleu

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His fundamental works, pub- center for this type of exhibition has been Venice lished in English in collaboration with J. A. Crowe, are which has conducted A New with monographic exhibitions of great cultural impact and History of Painting in Italy more penetrating (1912), in which A (1908—09) and the even History of Painting in North Italy quality. In the space dedicated to Venetian painters predominant. Bernard Berenson began his is long research on the Italian Renaissance at the end of the nineteenth century, focusing culminating on the Venetians from in the which served as the as early as publication in 1932 of his fundamental basis 1893 and first This was also the period of the great comprehensive histories of art which contributed substantially to the critical definition of "Venetianness," especially with regard to development up to the its time of the Renaissance (Venturi, 1901—40; Van Marie, 1936).

This exhibition, the Toward the end of the basis of the three A, C, H, intertwined on collaboration of Sebastiano del right the Giovanni the result of the is ferences are not in technique or little else is even of the time of his arrival Previtali, usually in The Palma of about 1520—25. The inscription is cer- of Giorgione, Titian, and Sebastiano. This thesis was repeated by Valen- and accepted by Schu- tainly apocryphal, since Sebastiano tiner (1927) did not become "Frate" or "del bring (1926), Suida (1933 and Piombo" 1956), Zampetti (1955 and 1968), until he was appointed and Keeper to this at least establishes the earliest Braunfels (1964), and Volpe (1964).

Choir screen of a type no longer extant in 1 I who consider our opinion work its the picture, and by list it it is a school work. In a late autograph of Carpaccio, characteristic in modesty of composition and in the minute attention to detail in the drawing. 45 8. Page Boy, Giorgione Oil on panel 1505 c. 9V2 x 7 34 in. M. Knoedler Giorgio da Castelfranco, c. , New rendered even more probable by Giorgione's subjects remains un- stylistic observation, clean Unlike other artists of his the he provided the transition in composition and color from time, he seemed to have conceived in Giovanni Bellini to Titian, he achieved a unified vision his secular of man and nature in form, space, and mood, and he created circle of intellectuals Giorgione's importance to Venetian painting that pastoral style called in North Italy is manifold: "Giorgionism" which persisted through the early decades of the century.

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A monograph of the Vochysiaceae 1. Salvertia and Vochysia by Frans Antonie Stafleu

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