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A Forgotten Master
Some painters get a really raw deal. Take Francesco Francia (14501517), originally a goldsmith from Bologna, and influenced by Raphael's teacher Pietro Perugino. Admired in the 19th century, chiefly for his Raphalesque compositions, but virtually unknown today. Freedberg's voluminous
I started thinking about Francia during last term's course I did on the history of the National Gallery, London; and in connection with a course I'm putting together on the influence of renaissance art on 19th century English painting and collecting. In his indispensable Saint Anne Altarpiece from San Frediano, Lucca. (151117) Composed of two elements, the main panel with Virgin, Child and Saints; and a panel showing a Pieta, the two works are currently displayed in a 19th century frame. As pointed out by Conlin, the two fragments were acquired in 1841. a year that also saw a Parliamentary select committee report on the question of workingclass access to museums. Presumably, it was thought that the devout quality of art such as Francia's would serve to inculcate Christian values and beliefs into the labouring classes.
Judging by Charles Compton's image of NG visitors observing Francia's Pieta in 1855, it was the middleclasses that this kind of saintly art appealed to. An intriguing observation poised halfway between social commentary and parody; is the little boy staring raptly upwards towards heaven a deliberate comic touch? I don't really know, but I can see why this Pieta might have resonated with the Victorians. It blends sentimentality with the grimness of death; the pinched face of the Madonna, her redeyes and bony face; it is almost as the skeleton is forcing itself out into the space of the viewer. There is an earnestness to Francia; the faces of his angels are very grave and despite the beauty of his figures, a heaviness seems to settle upon his compositions; as if there were personal tragedy beneath each brushstroke.
Away from the crowds, connoisseurs and collectors evaluated Francia. They perceived his art and similar to exhibit the characteristics of PreRaphaelite painting. Bayley, writing in the Art Journal in 1860, described Francia's art "as the cor cordium, the heart of hearts of the real PreRaphaelites: a softness and warmth of humanity above seraphic painters, are here under the shadow of the Dove's wings." This is quoted in the best book on taste and collecting ever written , Francis Haskell's where Haskell discusses taste and Christian art, well before the PRB came into existence in 1848. It's interesting to speculate on how the PRB would have turned out if they's taken Francia, Luini et al as the model for their painting. Studying Francia, they would have discovered the values of good composition, perspective, geometry, all in the service of pictorial excellence. Alas, such precedents were cruelly ignored, thus ensuring Francia would be consigned to oblivion, remembered by the odd connoisseur or two.
"Francia, whose meticulous finish, gracious angel faces, and quietistic feeling render popular, was, from the point of view of universal art, a painter of small importance. Trained as a goldsmith, he became a painter only in his maturity, and thus he missed the necessary education in the essentials of the figure arts. But his feeling, before it grew exaggerated (when it anticipated his townsmen of a century later [he means Bolognese baroque artists like Guido Reni and the Carracci] was, in its quietism, at least as fine as Perugino's. No work by the Umbrian master is more solemnly gracious, tender, yet hushed with awe, than Francia's Munich picture of the Virgin stooping, with hands reverently crossed on her breast, to worship the Holy Child within the mystic rosehedge. Perugino, without his magical command of space effects, could never have moved us thus; and even Francia owes much of his modest triumph to his landscapes."
Francesco Francia, Madonna, Child and Infant St John, Szpmvszeti Mzeum, Budapest. 1500. Pietro Perugino, Madonna, Child and Infant St John, London, NG, 150510. Berenson's phrase " solemnly gracious" nicely describes Francia's figures, especially his Madonnas who seem the saddest young women in renaissance art. The psychological associations I pick up are not good; this is far from the innocent charm of Perugino whose art seems devoid of these underlying complexities. Perhaps this might explain Francia's "modest triumph" in the 19th century. Francia was primarily admired for his formal perfection, which as I've suggested here might be linked with his mental state. Bayley, who was both a devout Christian and connoisseur, would be able to comprehend the various levels on which Francia's art worked. Bayley not only acknowledged the technical skill of Francia, but also by his phrase "under the shadow of the Dove's wings" discerned something more, a hint of sadness, possibly, elevating Francia higher than other "seraphic painters". because of his piety. This distinctiveness may have been lost on the public, our Victorian family studying his art, who would have seen Francia as just another religious painter, no different from Perugino or a score of others.
Interesting post on admiration for Francia in the Victorian era.
Personally, I prefer other paintings by Perugino for comparison with Budapest Madonna by Francia. Perhaps the National Gallery painting is not entirely autograph.
The admiration for Francia is also a phenomenon that involves, at the same time, other painters "forgotten" as Lorenzo Costa, Garofalo, Ortolano, etc.
Finally, nice quote from the great Berenson.
You remember correctly that it is taken from a book that incorporates material from earlier published work.
Quoted words already appear in the first edition of the "North Italian Painters of the Renaissance". As you know,[url=http://www.floware.fr]michael kors paris[/url], his name popped up in recent discussion about the veracity of the claim that he exchanged self portraits with Raphael something based on a supposed letter by Raphael that is no longer extant and described only by two Bolognese art historians whose bias towards displaying Francia in as great a light as possible must be questioned.
Im wondering if there is a definitive catalogue on Francia, particularly with sound provenance data on known works but that probably wishful thinking!

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the original title: Primary School "16 rules" to say money
"we feel this is the terms of overlord. Why only punishment, no reward, punishment is also sent to buy things." In April 1st, Chengdu Business Daily reporter contact net friend "vast forest", the school as the Experimental Primary School of Jianyang city.
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in violation of rules,[link widoczny dla zalogowanych], the students of each system will be sent to buy the trash,[link widoczny dla zalogowanych], for the class bucket, extracurricular books, snacks and other things.
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class of Internet users do not understand,[link widoczny dla zalogowanych], the parents not to evaluate
yesterday at noon, the reporter in Jianyang experimental primary school the door to find the second grade class two more than the school students' parents. "Are to be punished to buy things in violation of each system, it wouldn't be right." A parent says, but other parents said they were not convenient evaluation.
The
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