Contrived

Macrino d'Alba (Gian Giacomo d'Alladio)
Adoration of the Child with Angels, Saints and Donor
1505
tempera on panel
Galleria Sabauda, Turin

Daniel Hopfer
Interior of Church of St Katharina in Augsburg
with the Parable of the Widow's Mite
ca. 1510
etching
Museum für Angewandte Kunst, Vienna

Peeter Neeffs the Younger
Interior of Antwerp Cathedral
ca. 1660
oil on panel
Liechtenstein Museum, Vienna

Cornelia Pabst
Interior of the Church at Harderwijk
1917
oil on canvas
Kröller-Müller Museum, Otterlo, Netherlands

Gian Paolo Panini
Interior of the Pantheon, Rome
1735
oil on canvas
Liechtenstein Museum, Vienna

Wenceslaus Hollar
Garter Feast in the Time of Charles I
1672
etching (book illustration)
Fitzwilliam Museum, Cambridge

Adolph Menzel
Coronation of Kaiser Wilhelm I
1864
gouache on paper
(sketch for painting)
Kupferstichkabinett, Staatliche Museen zu Berlin

Lorenzo Sacchetti
Stage Design
ca. 1781-84
drawing
Graphische Sammlung Albertina, Vienna

François de Nomé
Palatial Interior
1620
oil on canvas
Museum de Fundatie, Zwolle, Netherlands

Donat Hübschmann
Arch for Triumphal Entry of Emperor Maximilian II into Vienna
1563
woodcut
Graphische Sammlung Albertina, Vienna

Gaetano Gandolfi
Marriage at Cana
ca. 1770-80
drawing
Graphische Sammlung Albertina, Vienna

Giuseppe Galli-Bibiena
Fantastic Arcade with Figures
before 1757
drawing
Graphische Sammlung Albertina, Vienna

Cigoli (Lodovico Cardi)
Compositional Study for Pentecost
ca. 1600-1610
drawing
Graphische Sammlung Albertina, Vienna

Rudolf von Alt
Staircase of the Vienna Court Opera
1873
watercolor and gouache on paper
Liechtenstein Museum, Vienna

workshop of Daniel Hopfer
Christ and the Woman taken in Adultery
before 1536
etching
Graphische Sammlung, ETH Zürich

Joseph Höger
Interior of the Grenzschloss
1839
watercolor on paper
Liechtenstein Museum, Vienna

Vasari returns to this problem in his discussion of Titian's late manner. "Certainly his way of procedure in these last works differs greatly from that of his youth, for the early works are executed with a certain refinement and an incredible industry so that they can be seen at close quarters and from afar, while his last ones are executed with crudely daubed strokes and blobs in such a way that one sees nothing at close quarters, though they look perfect from a distance.  That was the reason why many who wanted to imitate him in this to show themselves practiced masters have made crude paintings, for though it may seem that such paintings are done without effort, this is not true at all."

Titian's late manner became proverbial in the theory of art because of this magic of transformation.  Lomazzo tells of a visit by Aurelio Luini to the workshop of the aged master: "There he saw a miraculous landscape painting which at first glance appeared to Aurelio a mere daub, but when he stepped far back it looked to him as if the sun shone inside and made the roads recede here and there."

Vasari's influential book carried the message to the North that the traditional method of meticulous care in the finish of paintings was only one of two possible approaches.  In his didactic poem on the art of painting, which was written about 1600, Carel van Mander translated Vasari's account of Titian's manners into a rhymed stanza and continued: "And herewith, apprentices, I wanted to place before your eyes two perfect manners toward which you may now guide your path according to your bent, but I should still advise you to begin by applying yourselves to the neat manner."   

The Dutch connoisseur who had read his van Mander would therefore know there was a place in the kingdom of art for both Dou with his painstaking attention to smooth finish, and for Frans Hals or the late Rembrandt.  One of Rembrandt's few utterances about his art that have been preserved proclaims his adherence to the second manner: "Don't poke your nose into my pictures," he is reported to have said, "the smell of paint will poison you."

– E.H. Gombrich, Art and Illusion: a Study in the Psychology of Pictorial Representation (Princeton University Press, 1960)