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See also:DOLCI, CARLO, or CARLINO (,616—,686)
, See also:Italian painter, was See also:born in See also:Florence in May 1616
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He was the See also:grandson of a painter on the See also:mother's See also:side, and, became a See also:disciple of Jacopo Vignali; and when only eleven years of See also:age he attempted a whole figure of St See also: " His pencil," says Pilkington, " was See also:tender, his See also:touch inexpressibly neat, and his colouring transparent; though he has often been censured for the excessive labour bestowed on his pictures, and also for giving his carnations more of the See also:appearance of See also:ivory than the look of flesh." All his best productions are of a devout description; they. frequently represent the patient suffering of Christ or the sorrows of the Mater Dolorosa . Dolci was, in fact, from See also:early youth, exceedingly pious; it is said that during See also:passion See also:week every See also:year he painted a See also:half-figure of the Saviour . His sacred heads are marked with pathetic or at least strongly sentimental emotion . There is a want of See also:character in his pictures, and his grouping lacks harmonious unison, but the See also:general See also:tone accords with the See also:idea of the passion portrayed . Among the best works of this See also:master are the " St See also:Sebastian "; the " Four Evangelists, at Florence; " Christ Breaking the See also:Bread," in the See also:marquess of See also:Exeter's collection at Burleigh; the " St See also:Cecilia " in See also:Dresden; an " See also:Adoration of the Magi "; and in especial " St See also:Andrew praying before his Crucifixion," in the Pitti See also:gallery, his most important composition, painted in 1646; also several smaller pictures, which are highly valued, and occupy See also:honourable places in the richest galleries . (W . M . |
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[back] DOLCE, LUDOVICO, or LUIGI (15o8–i568 or 1569) |
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