Again, Titian's landscapes have a prodigious gusto, both in the colouring and forms. Whenever we look at the hands of Correggio's woman or of Raphael's we always wish to touch them.
NO MANS SKY GISTO MAJOR FULL
In Correggio's faces as well as figures we see neither bones nor muscles, but then what a soul is there, full of sweetness and of grace-pure, playful, soft, angelical! There is sentiment enough in a hand painted by Correggio to set up a school of history painters.
That is, the gusto of Michael Angelo consists in expressing energy of will without proportion able sensibility, Correggio's in expressing exquisite sensibility without energy of will. It is the reverse of Correggio's, which is effeminate. This is what is meant by saying that his style is hard and masculine. They appear only to think what they shall do, and to know that they can do it. His faces have no other expression than his figures, conscious power and capacity. His limbs convey an idea of muscular strength, of moral grandeur, and even of intellectual dignity: they are firm, commanding, broad, and massy, capable of executing with ease the determined purposes of the will. They everywhere obtrude the sense of power upon the eye. Michael Angelo's forms are full of gusto. In a word, gusto in painting is where the impression made on one sense excites by affinity those of another. The eye does not acquire a taste or appetite for what it sees. The impression slides off from the eye, and does not, like the tones of Titian's pencil, leave a sting behind it in the mind of the spectator.
It is painted without passion, with indifference. It is a smooth surface, not a warm, moving mass. It has not the internal character, the living principle in it. This is gusto.-Vandyke's flesh-colour, though it has great truth and purity, wants gusto. The blood circulates here and there, the blue veins just appear, and the rest is distinguished throughout only by that sort of tingling sensation to the eye, which the body feels within itself.
NO MANS SKY GISTO MAJOR SKIN
It is as different from that of other painters, as the skin is from a piece of white or red drapery thrown over it. Rubens makes his flesh-colour like flowers Albano's is like ivory Titian's is like flesh, and like nothing else. As the objects themselves in nature would produce an impression on the sense, distinct from every other object, and having something divine in it, which the heart owns and the imagination consecrates, the objects in the picture preserve the same impression, absolute, unimpaired, stamped with all the truth of passion, the pride of the eye, and the charm of beauty. For example, the limbs of his female figures have a luxurious softness and delicacy, which appears conscious of the pleasure of the beholder. It seems sensitive and alive all over not merely to have the look and texture of flesh, but the feeling in itself. This is what the Italians mean by the morbidezza of his flesh-colour.
Not only do his heads seem to think-his bodies seem to feel. There is a gusto in the colouring of Titian. In one sense, however, there is hardly any object entirely devoid of expression, without some character of power belonging to it, some precise association with pleasure or pain: and it is in giving this truth of character from the truth of feeling, whether in the highest or the lowest degree, but always in the highest degree of which the subject is capable, that gusto consists.
Gusto in art is power or passion defining any object.-It is not so difficult to explain this term in what relates to expression (of which it may be said to be the highest degree) as in what relates to things without expression, to the natural appearances of objects, as mere colour or form.
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