Taking inspiration from the “Imaginary Conversations” of the English poet Walter Savage Landor, I composed imaginary conversations on colour and perspective between Perugino and Pinturicchio.
Historical context
Pietro di Cristoforo Vannucci, known as Perugino, was born in Città della Pieve around 1448 and simultaneously ran two very active workshops, one in Florence and one in Perugia. Bernardino di Betto Betti, known as Pinturicchio, was born in Perugia around 1452.
Perugino and Pinturicchio were the two leading figures of the Umbrian Renaissance, profoundly influencing Italian art between the late 15th and early 16th centuries. While Perugino, also known as the Divine Painter, is renowned for the harmony and serenity of his compositions, Pinturicchio was a master of decoration and color.
Pietro Perugino and Pinturicchio shared an important artistic partnership in the same workshop, particularly between the late 1470s and early 1480s. Key moments of their collaboration include:
- Sistine Chapel (1480-1482): Pinturicchio was Perugino’s main collaborator in the Vatican project. Together they created frescoes such as the Baptism of Christ and Moses’ Journey into Egypt, as well as the altarpiece of the Immaculate Conception on the back wall (later destroyed to make way for Michelangelo’s Last Judgment).
- Story of Saint Bernardino (1473): Both participated in the decoration of the series of panels for the Oratory of San Bernardino in Perugia.
The questions of the Renaissance painters
Renaissance painters posed questions about perspective (linear and aerial), human anatomy and proportions, light and shadow (sfumato), the representation of reality and space, and the role of the artist. They wondered how to render space three-dimensional, how to represent the human figure with realism and beauty, how to use light to give depth and volume, how to transcend the past to create something new and perfect.
Perugino and Pinturicchio must have had much to discuss as they engaged in their artistic rivalry. They too must have competed on technique, creativity, perspective, composition, and experimentation with color and form. I’m unaware of any historical evidence regarding these dialogues and exchanges, and so the English Romantic poet Walter Savage Landor (1775–1864) came to mind.
What does English Romanticism have to do with it? Truth be told, it has nothing to do with it. But—there is a but. This impetuous and rebellious poet was part of the Romantic school of poets, that illustrious generation that included Keats, Shelley, Byron, but especially Coleridge and Wordsworth. He never achieved full popularity, although his most famous work, Imaginary Conversations, elevated him to a high literary reputation.
Imaginary Conversations is a vast collection of dialogues between historical figures, ranging from Greek and Roman figures to contemporary statesmen and writers. The imaginary conversation between Dante and Beatrice is particularly interesting, exploring themes of love, spirituality, and earthly life. Obviously, I don’t aspire to equal the greatness of W.S. Landor; I recognize my limitations and my humility in writing, but the Romantic poet inspired me to imagine conversations between the two Umbrian painters.
Imaginary Conversation on Colors
“Master Pietro, this morning I see you very thoughtfully looking at your palettes and millstones. What are you thinking?”
“Dear Pinturicchio, when I look at your palette, I think I wish I had your skills. You are an expert in the use of color, while I have always tried to balance form and composition with tonality.”
“Yes, thank you, but I am not the master. You know I often observe you, even if you don’t want me to. I observe your palette, which is very dear to me; it is distinguished by its light and softly blended colors, creating serene and angelic atmospheres. Yes! I admit, I am vaguely envious of it. These things are strange; I appreciate them very much, but it bothers me a little! Furthermore, your harmonies give depth and fullness to the image. I see you use chiaroscuro a lot, right?”
“Yes, chiaroscuro is a way to create depth and volume in my works. My chiaroscuro is characterized by a diffused and serene light that gently shapes the forms.”
“You, Pietro, are perhaps a little more rigid and classicist, while I am freer, perhaps because I still have a lot to learn?”
“Don’t ask these questions if you feel free! We have innate talents, even if there’s always more to learn. And I don’t like these classifications; each of us has our own characteristics. For example, I admire the magic of your colors. How do you create such vibrant and luminous tones? I’ve always admired your use of blue, and then there’s also the question of red. How do you achieve such intense and rich tones?”
“I draw inspiration from the colors of nature; I use cinnabar red for brightness and cochineal for a more intense red, and I often mix them.”
“Ah, that’s the secret. I, on the other hand, have always been more interested in forms and structures, not disdaining colors and, of course, light.”
“Speaking of light, Pietro, what do you say? What advice do you have for me?”
“Everything has a unique and special color, but it’s the light that changes everything. I’ve always tried to capture light in my works, but you, Pinturicchio, make it shine.”
“Dear Perugino, you’re complimenting me too much. I’m more direct and clear… in fact, I wanted to tell you, but I don’t want to offend you, that you’ve always had a bit of difficulty with green, or am I wrong?”
“Green is the most difficult color for me, and I don’t know why.”
“Perhaps pure, flat green seems unnatural and aggressive to you, thus counteracting the desire for harmony.”
“Exactly! That’s exactly right! I’ve combined with pigments and binders, but I don’t always get the subtle gradations I want.”
“Have you tried using a complementary medium?”
“Of course, I added red earth like Burnt Sienna to the green to tone down its brightness. I also used the overexposure technique, applying layers of red over green and vice versa, creating effects of softness and depth.”
“You’ve tried almost everything; all you need to do is try the Red Background.”
“I also tried this medium, making the subsequent green appear lighter and less saturated.”
“So are you satisfied with the result?”
“I’d say so, given the numerous commissions and important assignments I receive.”
Imaginary Conversation on Perspective
“What are you looking at out the window? Are you doing a perspective exercise? Would you like to talk about this technique? What do you think, Pietro?”
“Perspective? It’s one of my fortes. I’ve always been fascinated by the possibility of creating the illusion of depth. But let’s not forget, first of all we have to thank Brunelleschi, who experimented with this unique vanishing point technique, and we’re talking about a few decades ago.”
“But how do you use it exactly?”
“I create, or rather try to create, large, orderly spaces, often with porticoes and classical-style buildings that convey a sense of calm and rational order typical of our time.”
“I often hear you talk about linear and aerial perspective, even with clients.”
“Exactly! When they ask me to do the impossible, I propose magical effects of depth and space, and it’s something I really like. I use the principles of scientific perspective inherited from Piero della Francesca to construct coherent three-dimensional environments.”
“This is getting tricky, eh?”
“No, come on! You know very well how it works; you too are a genius at creating depth and realism. Let me also answer your question about aerial perspective; in this case, I don’t limit myself to lines, but use color and shading to create depth and distance.”
“Yes, but tell me a little more about Piero della Francesca.”
“I’ll try to be clear. Piero della Francesca’s principles of scientific perspective are codified in his treatise De prospectiva pingendi and are based on the fusion of geometry, mathematics, and light to create rational, ordered, and harmonious pictorial spaces. Each element is measurable and positioned according to precise calculations, transforming reality into an ideal mathematical and spiritual beauty, with solid volumes defined by precise light and shadow and a central, solemn composition.”
“Most illustrious Maestro!”
“You, Pinturicchio, are more inclined to ignore the rules of perspective, aren’t you? I like your ability to create spaces and atmospheres even if they don’t always follow the rules of geometry, and that’s precisely what I like about you—an artist who doesn’t let himself be limited by rules.”
“Partly yes, partly no. Perhaps, it’s true, I prefer to create spaces that are more emotional, more evocative. I think there’s something more important than geometric precision, something that has to do with the soul and sensitivity. However, it’s also true that I use architectural elements, like checkerboard floors or loggias, to create a sense of depth and order, guiding the viewer’s eye. I also like to experiment with objects painted in perspective to deceive the eye, making the pictorial space more vivid and realistic. Finally, I’d also add that I don’t mind integrating detailed landscapes into the background, often through windows or openings, which expand the scene and create a “picture-within-a-picture” effect, merging figures and surroundings.”
In conclusion
Perugino and Pinturicchio continued to discuss art and life, as they often did. But in the end, they agreed on one thing: that art is a journey without a destination. And that true beauty lies in the diversity and creativity of each artist.
And so, the two friends continued to create, explore, and discover new horizons, leaving behind a legacy of masterpieces that would inspire generations of artists.
