On another sheet, Michelangelo plans a sibyl for the Sistine Chapel ceiling in red-chalk strokes remarkable for their consistency and power Glasgow: Robert Urie, Jean Sorabella Independent Scholar October Florentine color was frequently more vivid than the palette used in Venetian paintings; typically Venetian, however, was the process of layering and blending colors to achieve a glowing richness. The Metropolitan Museum of Art. Standard English edition of the sixteenth-century Italian original. Rather than beginning with careful drawings, Venetian painters often worked out compositions directly on the canvas, using layered patches of colored brushstrokes rather than line to define form. In a similar spirit, the Venetian painter Tintoretto confronts the Florentine achievement in a drawing after Day , a marble sculpture by Michelangelo
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