Bernhard Berenson

by Bernhard Berenson

Masaccio’s death left Florentine painting in the hands of three men older, and two somewhat younger than himself, all men of great talent, if not of genius, each of whom—the former to the extent habits already formed would permit, the latter overwhelmingly, felt his influence. The older, who, but for Masaccio, would themselves have been the sole determining personalities in their art, were Fra Angelico, Paolo Uccello, and Andrea del Castagno; the younger, Domenico Veneziano and Fra Filippo.

Andrea del Sarto approached perhaps as closely to a Giorgione or a Titian as could a Florentine, ill at ease in the neighbourhood of Leonardo and Michelangelo. As an artist he was, it is true, not endowed with the profoundest sense for the significant, yet within the sphere of common humanity who has produced anything more genial than his “Portrait of a Lady”—probably his wife—with a Petrarch in her hands?