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THE SAN FRANCISCO MUSEUM OF ART

CATALOGUE

OF THE LOAN EXHIBITION

OF

PAINTINGS BY OLD MASTERS

IN THE

PALACE OF FINE ARTS

SAN FRANCISCO

BY

J. NILSEN LAURVIK

DIRECTOR

SAN FRANCISCO

PUBLISHED BY THE MUSEUM

A, D. MCMXX

Published, 08ober yj", ig20, in an ed- ition of 2000 copies. (Copyright, 1^20, l>y The San Francisco <J)lCuseum of Art.

Printed by Taylor tSJ" Taylor, San

Francisco. *®^ The Printer has drawn on two early Italian Renaissance books in the making of the co^er: For the border and general arrangement, the "Publii Fran- cisci Modesti Ariminensis\ ' printed by Bernardinus de Vitalis Venetus in 1^21; and the Phoenix rising from the flames, from the " Marsilii Ficini Epistola," printed in the year I4gs h Matthaus Capcasa Parmensis. *3>^ Halftones made by the Commercial Art Company, San Francisco.

Reprinted, with some minor revisions, November ^,ig20, in an edition ofi^oo copies.

LOAN STAO^ fTTPT

S3

PREFACE flS^O

The Exhibition last spring of the J. Pierpont Morgan Loan Col- lection of Drawings and Etchings by Rembrandt was a fitting cul- mination to our four years of experimental work in testing the public demand for a Museum conducted on a serious basis. These four years brought forth such an overwhelming response in general interest and attendance* as to make the permanent establishment of such a Museum appear nothing short of a necessity^ which we consider it our duty to supply, and the creation of a Museum organization, with a responsible Board of Trustees] to administer its affairs, is the initial step in that direction.

This Exhibition of Paintings by Old Masters is the first act of the new board, and may be taken as an earnest of the high plane upon which it is proposed to conduct the San Francisco Museum of Art, which now comes into being, inaugurating a new era in the cultural life of San Francisco and bringing to a happy fruition the seed planted some fifty years ago, when the San Francisco Art Association was founded by a small band of idealists who had the future welfare of their city at heart.

That their faith was not misplaced, nor their efforts in vain, is eloquently attested by the long list of names appended hereto of those who, by their generous support during these last four years, have made possible the successful development of Museum activi- tiesX in the Palace of Fine Arts. To them is due our grateful acknowledgment of a civic service performed unostentatiously, for the pure love of San Francisco, and to them primarily the Museum now established owes its existence. And here we wish to record our deep appreciation of the co-operation of the patrons and pa- tronesses whose sponsorship has made possible this Exhibition of Old Master s% by guaranteeing the very considerable expense in-

* Since May^ 1916, over one million persons have visited the Museum in the Palace of Fine Arts, with a total of 26,000 paid admissions registered for the Zu- loaga, Anisfeld, and Rembrandt exhibitions.

t See Museum Board of "Trustees, on p. viii.

X Over forty exhibitions, more than fifty Sunday afternoon recitals in the Co- Relation of the Arts Series, and scores of lectures and gallery talks have been given during these four years, not to mention two Promenade Concerts with a full orches- tra and eminent soloists, and two out-of-door choral concerts on the Lagoon.

§ See page 2.

oo>«

VI PREFACE

volved in bringing the collection to the coast; while to Mr. Robert Rea, the Librarian of our Public Library, and to Miss Byrne, of the Reference Department, our thanks are due for materially aiding in the making of this catalogue by supplying us with the list of titles of all books in the library referring to the artists and periods of art mentioned herein; and last, but not least, we wish to express our grateful appreciation of the unremitting thought and attention devoted by printer and engraver to perfecting their part of this pub- lication, and, above all, to thank Messrs. Bourgeois, DeMotte, Durand-Ruel, Ehrich, Gimpel and Wildenstein, Kleinberger, and Knoedler for their kindness in lending us these priceless examples of the works of the Old Masters that constitute this notable exhi- bition.

The collection is a chronological exposition of the main currents influential in the development of painting in Europe, from the four- teenth century down to and including the eighteenth-century English and French schools, as exhibited in the work of the foremost painters of each period, in examples that, for the most part, are brilliantly typical and always characteristic of their particular style. Though, to be sure, the exhibition boasts neither a Leonardo, a Michelangelo, nor a Raphael, it does contain, in the works of Gianpedrino, Dosso Dossi, and Penni, eloquent and indeed significant reverberations of these giants of the Italian Renaissance, while their great con- temporaries and their forerunners in Flanders and in Germany are found reflected in the art of men whose work continues to be: ascribed wrongly to Diirer, Holbein, Metsys, and Van der Weyden, so closely did they approach these famous masters in matter and manner.

In the case of Penni, as exhibited in his "Portrait of a Lady" we have something more than a mere echo of the voice of the master; it is the very embodiment of his style and spirit, expressed by one who was not merely a slavish follower and an intimate friend of Raphael, but actually the author of most of the portraits executed in the latter^ s studio during his last years, thus becoming in a very real sense his alter ego, through whom Raphael attained a peculiarly personal and authentic extension of his personality. It will be seen therefore that this beautiful example of Raphael's favorite pupil is charged with a significance that rarely attaches

PREFACE Vll

to the works of pupils and assistants and becomes a fruitful field of study as a manifestation of the reflected personality of the master no less than of the pupil.

Similarly this is true also of the work of Amberger, whose well- known "Portrait of Charles V" in the Institute of Fine Arts at Siena, continues to be attributed to Holbein, so intimately did Amberger share the force and flavor of his illustrious compatriot, as may be seen in his '^Portrait of Conrad Zeller" shown here.

For other examples of the kind in this exhibition we refer the reader to the notes appended to the exhibits catalogued herein, from which it will also be apparent that most of the paintings are his- torically famous canvases, coming from well-known European collections, and listed and described in numerous published works in which their pedigrees are in many instances traced back directly to the artists who painted them. Virtually, every subject that en- gaged the interest of the Old Masters, from allegorical, classical, mythological, and religious to landscapes, portraits, and still life, is represented here.

As this is an exhibition of Old Masters, it will of course be under- stood that the Introduction {which follows) deals only with the art of the periods represented and makes no pretense to being a complete survey of the art history of their respective countries. Those familiar with the researches of Morelli, Bernhard Berenson, Jens Thiis, Osvald Siren, Wilhelm Bode, Friedldnder, W. R. Falentiner, Bredius, C. Hofstede de Groot, Max Rooses, A. de Beruete y Moret, and A. J. Wauters will recognize how much this catalogue owes to their work, and I take pleasure in. making acknowledgment of a debt that is shared by all the world.

J, NiLSEN Laurvik, Director. San Francisco, October 15, 1920.

THE SAN FRANCISCO MUSEUM OF ART

BOARD OF TRUSTEES WILLIAM C. VAN ANTWERP EDWIN RAYMOND ARMSBY

ARTHUR BROWN, JR,

CHARLES W. CLARK WILLIAM H. CROCKER SIDNEY M. EHRMAN DANIEL C. JACKLING JAMES D. PHELAN LAURENCE I, SCOTT JOHN I. WALTER

FRANCIS CAROLAN

CHARLES TEMPLETON CROCKER

JOHN S. DRUM

JOSEPH D. GRANT

WALTER S. MARTIN

GEORGE A. POPE

RICHARD M. TOBIN

GEORGE WHITTELL

DIRECTOR J. NILSEN LAURVIK

THE MUSEUM IS HOUSED IN THE PALACE OF FINE ARTS, ERECTED BY THE PANAMA-PACIFIC INTERNA- TIONAL EXPOSITION IN I9I5

CONTENTS

For a list of the paintings catalogued

and illustrated herein, see the subje£l and title index

at the end of the book^

PREFACE

contributors

introduction:

Byzantine Painting Italian Painting Flemish Painting Dutch Painting German Painting Spanish Painting French Painting British Painting

catalogue:

Greco-Byzantine Painting Italian Painting Flemish Painting Dutch Painting German Painting Spanish Painting French Painting British Painting

explanatory note bibliography index to artists subject sf title index

Page V

xi

xvii

XX

xxiii xxvii

xxix

xxxiii

xl

xliv

3 3

15

22

26 31

45 S3

57

^3 66

THE SAN FRANCISCO ART ASSOCIATION

OFFICERS

ARTHUR BROWN, JR.

CHARLES TEMPLETON CROCKER

GOTTARDO PIAZZONI

MRS. JOSEPH FIFE

WALTER S. MARTIN

President

First Vice-Preiident

Second Vice-President

Secretary

Treasurer

DIRECTORS

CLARK HOBART

WILLIAM H. METSON

GENEVE RIXFORD SARGEANT

BERNARD R. MAYBECK

WILLIS POLK

JOHN I. WALTER

DIRECTOR J. NILSEN LAURVIK

THE ASSOCIATION WAS ORGANIZED IN 1872 &f CON- DUCTS THE SAN FRANCISCO MUSEUM OF ART & THE CALIFORNIA SCHOOL OF FINE ARTS

CONTRIBUTORS

WHO HAVE MADE POSSIBLE THE

MUSEUM ACTIVITIES IN THE PALACE OF

FINE ARTS DURING THE

LAST FOUR YEARS

CLUBS, SCHOOLS, NEWSPAPERS, ETC.

Adelphian Club, Arts and Crafts of Carmel, Art History Club {San

Jose), Art History Club {University of California).

Bryant School Mothers' Club.

California Camera Club, California Club, The Century Club of California, Channing Auxiliary, Clionian Club, Collegiate Alumnce, Corona Club, Council of Jewish Women.

Daughters of the American Revolution, Delphian Society, Dolores Mothers' Club.

Ebell Club of Oakland.

Federation of Women's Clubs, Forum Club, Friends of Art.

Golden Book of Records.

Hypatia Club.

Laurel Hall, Los Gatos Civic Center.

Monterey Club Convention.

New Era League, N. D. G. W. Grand Parlor.

Oroville Monday Club, Outdoor Art Club {Mill Valley), Outdoor Art League, Outdoor Club {San Jose).

Papyrus Club, Philomath Club, Preservation League, Presidents Assembly.

San Francisco Center of California Civic League, San Jose Wo- men's Club, Sons of the American Revolution, Sorosis Club, Spring Valley Mothers' Club.

Xll CONTRIBUTORS

Tamalpais Center Women's Club^ To Kalon Club, Twentieth Cen- tury Club.

Utile Dulci.

Vittoria Colonna Club.

Woman's Auxiliary of the Palace of Fine Arts, Women's Club {Monterey), Women's Club {Pasadena), Women's Club {Riverside).

San Francisco Call-Post, San Francisco Examiner.

Berkeley High School, Berkeley Schools, Burbank School, Miss Burke's School, Le Conte School, McKinley School, John' Muir School.

INDIVIDUALS, FIRMS AND CORPORATIONS

Rachel Abel, The Adair family, L. &" M. Alexander, Maude Rex Allen, Mrs. J. W. Allyne, J. S. Angus, Maxwell Armfield, George Armsby, Lillian Armsby, E. Raymond Armsby, Ludwig Amstein, Mr. and Mrs. Robert Atkins, Almira L. Austin.

Mrs. C. A.Bachelder, C. E. Baen, Mrs. J. Baer, Josephine Bail- hache, Mrs. A. S. Baldwin, Captain John Barneson, Sigmund Bauer, J. C. Beedy, A. Benson, R. I. Bentley, Mrs. A. G. Bernard, E. T. Bioletti, Nathaniel Blaisdell, Mary C. W. Black, Gordon Blanding, Jonas Bloom, Leon Bocqueraz, Emma Bronk Bogges, Winifred Black Bonfils {Annie Laurie), Emma J. Boole, W. S. Borda, Mrs. Joseph Borda, E. L. Bosqui, Miss E. Boynton, F. W. Brad- ley, Edward Brandenstein, Manfred Brandenstein, M. J. Branden- stein, John A. Britton, Mrs. S. A. Brooks, Mrs. H. E. Brown, Mrs. A. N. Buchanan, Lynda Buchanan, Nellie A. Buchanan, Frank H. Buck, D. J. Buckley, Katherine T. Buckley, Mrs. James H. Bull, Byrne ^ McDonnell.

Mrs. D. Y. Campbell, Donald Y. Campbell, A. Canton, Cardinell- Vincent Co., E. A. Christenson, City of Paris Dry Goods Co., Mrs. C. W. Clark, Mrs. H. E. Clark, V. Clark, Warden D. Clark, Mrs. Crawford W. Clarke, Ada Clement, Mrs. George A. Clough, G. Wayne Coffee, Mary C. Cofran, Ellen R. Coldwell, Misses P. H. and J. D. Coleman, Mrs. W. B. Cope, Mrs. Ernest Cowell, Helen E. Cowell, Isabella M. Cowell, Douglas Crane, Mrs. J. C. Craw-

CONTRIBUTORS Xlll

Jordy Mrs. Charles Templeton Crocker^ Charles Templeton Crocker^ Ethel W. Crockery Mrs. William H. Crocker, William H. Crocker, E. Curjel.

Eleanor M. Davenport, Charles H. Delany, Eleanor M. Delany, C. Neufeld DeNevers, Mrs. Edgar De Pue, Eda Del Valle, Anna M. Denser, Marion Dewey, L. Dinkelspiel ^ Co., Mrs. Samuel Dinkelspiel, Samuel Dinkelspiel, A. B. C. Dohrmann, Mrs. C. L. Donohoe, John S. Drum, Mrs. Peter Dunne, Mrs. C. W. Durbrow.

Gertrude S. Eells, Mrs. Albert Ehrman, Mrs. Alfred Ehrman, Mrs. Sidney Ehrman, A. Eloesser, Carrie Pratt Elwell, F. D. Elwell, Alice C. Everts.

A. Falvy, Mrs. Joseph Fife, Mrs. G. K. Fitch, Virginia Fitch, Delia Fleishhacker, Herbert Fleishhacker, Mortimer Fleishhacker, J. L. Flood, Mrs. James Flournoy, M. J. Fontana, W. H. Ford, Alice L. Foye, Joseph Frame, Grace H. de Fremery, Dr. F. Frank, Nathan H. Frank, Mrs. W. S. Franklin, Dr. W. S. Franklin, Mrs. Frank Fredericks, Mrs. William Fries, Helen Frisselli, E. H. Furman.

Mrs. R. F. Gall, John 0. Gantner, Gantner £s? Mattem Co., Hannah Gerstle, William L. Gerstle, James H. Gilhuly, Mrs. E. W. Goeg- gel, H. R. Gogliando, Mrs. Edwin Goodall, Alice M. Goss, J. D. Grant, Mrs. Walker C. Graves, Mrs. J. W. Gray, Mrs. I. M. Green, Emil Greenebaum, Louis C. Greene, Mrs. A. F. Griffith, Alice L. Griffith, Henry Gross, Mrs. C. E. Grunsky, Julia A. Guerne, Mrs. Leon Guggenhime, B. M. Gunn.

Mrs. A. Haas, Mrs. William Haas, E. M. Hadley, Mrs. 0. A. Hale, Miss Hale, Reuben H. Hale, Mrs. A. S. Hallidie, Mrs. Charles Ham, Mathilde Hampe, A. B. Hammond, Mrs. W. A. Hammond, Mr. and Mrs. J. R. Hanify, Mrs. E. H. Harriman, Mr. and Mrs. Julien Hart, Mrs. C. A. Hasslinger, Irvin Hatch, Mrs. C. A. Hawkins, William Randolph Hearst, *Mrs. Phoebe A. Hearst, Helen Hecht, Mrs. E. S. Heller, *I. W. Hellman, Jr., Fredrika B. Henderson, *Mrs. H. Herrington, Pauline Higbee, Mrs. Marvin Higgins, Mrs. A. Z. High, Saretta B. Hindes, Mrs.

*Deceased.

XIV CONTRIBUTORS

Joseph Hodgen, Mrs. H. C. Holmes, E. W. Hopkins, E. T. Houghton, J. W. Huddart, Ernest C. Hueter, E. L. Hueter, 0. M. Hueter, Marion Huntington, Mrs. Isaac Hyde.

Alice G. Jewell, Fidelia Jewett, Mrs. Charles C. Judson, Mrs. E. A. Judson.

William Kaufman, Mrs. Joseph 0. Keenan, Eliza D. Keith, F. W. Kellogg, A. F. Kilkenny, Frank King, Mrs. Homer King, L. M. King, Mrs. M. Kirkpatrick, Mrs. Knight, Mrs. Marcus Koshland, F. J. Koster, Mrs. Henry Koster, Alma Kower, Krause ^Co.

Mrs. J. Nilsen Laurvik, J. Nilsen Laurvik, Dr. Hartland Law, Herbert E. Law, John Lawson, Mrs. W. S. Leake, Mrs. A. L. Leng- feld, R. J. Levison, Mary H. Lewis, Rose F. Lewis, *Jesse Lilien- thal, Mrs. Samuel Lilien'thal, Sophie Lilienthal, Bjarne Lindvig, Mrs. N. B. Livermore, Florence Locke, Julia L. Loveday, Mrs. I. Lowenberg, Agnes Lowrie.

Carlotta Mabury, Mrs. J. N. McChesney, Mrs. F. C. McCreary, Mrs. E. J. McCutchen, Miss McElroy, McEwen Bros., J. D. McKee, Mrs. J. fV. McLaughlin, J. H. McMenomy.

0. H. Mackroth, A. K. Macomber, Louise Mailliard, Thomas Magee y Sons, "Marie G.", Mrs. Eleanor Martin, Dr. L. J. Martin, Walter S. Martin, Carrie R. Matthews, Frederica Meyer- stein, William E. Miles, Mrs. W. H. Mills, Charles G. Minifie, Mrs. J. W. Mitchell, Louis F. Monteagle, Mrs. Douglas Mont- gomery, Charles C. Moore, J. Pierpont Morgan, Mrs. A. F. Morri- son, Mr. and Mrs. L. L. Morse, Mrs. Leon Wilson Morse, Gabriel Moulin, L. C. Mullgardt, Mrs. Hamilton Murray, Mrs. Clarence Musto, Florence Musto, Mrs. Joseph Musto, Laura Musto.

Gustav Neufeld, L. J. Neustadt, Mrs. E. W. Newhall, Jr., Mrs. Charles Newhouse, Miss A. 0. Nilsen, Paul Nippert, Mrs. J. R. K. Nuttall.

Dr. R. H. Oliver, Mary L. Oliver, William Letts Oliver, Captain Fritz Olsen, Max Ordenstein, Horace Orear, Mrs. C. P. Osgood, Mrs. James Otis. •Deceased.

CONTRIBUTORS XV

Panama-Pacific International Exposition Co., Dr. Charles Hadden Parker, Jennie K. Partridge, J. M. Patrick, Blanca D. Paulsen, Gertrude Pauson, Mrs. Richard E. Pearce, Mrs. S. E. Peart, J. S. Peltret, Clara H. Perkins, Hon. James D. Phelan, Mrs. Ira Pierce, Roy H. Pike, Mrs. Kaspar Pischel, Mrs. W. P. Plummer, Mrs. George A. Pope, George A. Pope, Mrs. M. C. Porter, W. S. Porter^ John Haraden Pratt.

R. E. ^ueen.

Mrs. W. P. Redington, W. W. Rednall, D. R. Rees, Dr. Aurelia Henry Reinhardt, B. M. Resing, Grace M. Rhodin, Mrs. Austin Richards, Austin Richards, Mr. and Mrs. A. C. Richardson, Mrs. James H. Robertson, V. H. Robinson, Mrs. E. D. Roe, Hon. James Rolph, Jr., Rosenberg Bros., Dr. Julius Rosenstim, Albert Rosenthal, Mr. and Mrs. J. H. Rosseter, John Rothschild, Mrs. S. W. Rowenstock, Mrs. A. C. Rulofson, Jr.

Mrs. Henry Sahlein, Mrs. R. Samson, Mrs. F. M. Sawyer, James H. Schwabacher, Mrs. Louis Schwabacher, Mrs. L. B. Schwerin, Mrs. A. W. Scott, Mrs. Henry T. Scott, C. E. Sebastien, S. S. Seward, Jr., George Shaner, Margaret Bowen Shepard, W. R. Sherwood, William R. Sherwood, Mrs. R. J. Shields, Shreve ^ Co., Mrs. Charles A. Shurtleff, E. J. Shuster, Sing Fat, Mrs. Bernard Sinsheimer, Henry Sinsheimer, Mrs. Edgar Sinton, James B. Smith, Mrs. George B. Somers, Mrs. J. J. Spieker, Mrs. A. B. Spreckels, Mrs. Edwin Stadtmuller, Adolfo Stahl, Edith L. Stebbins, Josephine E. Steinberger, Mrs. Abraham Stern, Jacob Stern, Sigmund Stern, Alfred Stieglitz, Stanley Stillman, *0. C. Stine, Mrs. F. L. Stolz, Mrs. Julius Sultan, JV. B. Sumner ^ Co., Judge Matt I. Sullivan, Emilie Sussman, Mrs. Edward Sweeney.

Edward DefVitt Taylor, Henry H. Taylor, Jos. S. Thompson, Ingeborg Thorup, E. J. Tobin, *J. S. Tobin, R. M. Tobin, Mme. E. Tojetti, M. E. Toner, Hon. H. A. van Coenen Torchiana, Dr. J. B. Tufts, Mrs. Joseph J. Tynan.

Baroness J. C. van Eck, Baron J. C. van Eck, Mrs. Sidney M. van Wyck, Mrs. George Volkmann, Grover von Rossum.

*Deceased.

XVI CONTRIBUTORS

Mrs. E. A. Walcott, E. A. Walcott, Mrs. Cyrus Walker, Mrs. Talbot Walker, Miss M. K. Wallis, Clarence R. Walter, John I. Walter, Rolla V. Watt, Mr. and Mrs. H. Weinstock, Mrs. Charles Stetson Wheeler, Charles Stetson Wheeler, Anne Whitley, Irvin J. Wiel, Clara K. Willenmeyer, D. Willis, Mrs. M. A. Wills, Mrs. Ramon Wilson, Ney Wolf skill, Mrs. F. N. Woods, Jr., Mrs. Julius Wormser, Harold L. Wright, Mrs. J. B. Wright, Emma G. Wright.

W.R. K.Young.

***The Paintings in this Exhibition are lent by the following: The Stephen Bourgeois Gallery, New York; The DeMotte Galleries, New York and Paris; The Durand-Ruel Galleries, New York and Paris; The Ehrich Galleries, New York; The Gimpel 6? Wilden- stein Galleries, New York and Paris; The Kleinberger Galleries, New York; The Knoedler Galleries, New York and Paris.

INTRODUCTION

A SURVEY OF THE SEVERAL SCHOOLS

OF PAINTING REPRESENTED IN

THE EXHIBITION

BYZANTINE PAINTING ITS INFLUENCE ON EARLY ITALIAN PAINTING

Early Italian painting as well as early painting in Europe gener- ally derives its chief characteristics of form and color directly from Byzantine painting, developed in Byzantium, which was rebuilt and rechristened Constantinople by the Christian Em- peror Constantine, in the year 328 a.d. Under his influence it became the center of Christian doctrines, customs, and art. It was inevitable, however, that not a little of the glow and glamour of the Orient that permeated the life of this cosmopolitan gate- way between the East and the West should color the Christian art produced under the strong influence of Byzantine traditions, which persisted actively for some time in the domain of art no less than in the realm of religion.

To understand early Christian art, especially early Italian art from the sixth to the thirteenth century, it is quite necessary to know something of the general principles animating Byzantine art. How these became influential in moulding the matter and manner of the early Christian artists, who, in many instances, were hardly more than a continuation of Byzantine tradition transplanted in another and less favorable soil, in which the old roots of the ancient Greek and Roman civilizations still con- tended for supremacy with the new seed of the age-old civiliza- tion of Asia, is the story of the conquest of the West by the philosophy, art, and religion of the East, for it must not be for- gotten that Christianity is but Judaism transplanted, with all that it implies of Oriental thought and philosophy. And the kernel of Eastern thought is the love of the abstract, so beautifully expressed in the works of the poets, painters, and philosophers of Egypt, China, Persia, and India, whose various

XVlll INTRODUCTION

influences, potent in shaping Greek thought and art, attained a complete fusion in Byzantium and there formed a great art that became the true source of artistic regeneration in the Europe of the early centuries of the Christian era, when ancient beliefs crumbled or were transmuted in new moulds and art and religion were well-nigh hopelessly enmeshed in doctrinaire discussions that smothered all creative initiative. With the eclipse of Rome as the source of light the Old World fell under the spell of the Oriental glamour of Byzantium, with its richness of material and color, and, above all, with its high standard of workmanship, always one of the chief attributes of great art.

An advocate of painting at the Second Nicene Council de- clared that "It is not the invention of the painter that creates the picture, but an inviolable law of the CathoHc Church. It is not the painters but the holy fathers who have to invent and dictate. To them manifestly belongs the composition, to the painter only the execution." In such an atmosphere of artistic negation art would have perished utterly had it not been firmly rooted in a tradition that could subordinate itself to the chang- ing times while maintaining its sound workmanship and design, which was eventually to flower into the new art of Cimabue and Giotto and the noble dramatic rhetoric of Masaccio. These, in- deed, are a far cry from the formal and hieratic manner of painting developed in Byzantium, but none the less link up with it in essentials of design and in their fine feeling for the signifi- cance of pure form as a factor in space composing, a direct heritage of Oriental abstraction. In this and in this alone did Byzantine art continue to exert a subtle but pervasive influence upon the developing art of Europe, that bloomed into full flower with the Renaissance, which ushered in the glorification of the real as opposed to the abstract, and marked the definite parting of the ways of parent and child. The intellectual and artistic inde- pendence of Europe was at last accomplished, at least out- wardly, and, be it noted, from thence on began its decadence. As art simulated more and more the appearance of reality its true physiognomy disappeared, and painting became the proud imitative rival of the mirror, reflecting everything, interpreting nothing: the end, utter futility.

INTRODUCTION XIX

Once more the pendulum appears to swing back and signs that presage a return to those first principles of abstract design and color that endow a primitive with greater significance than the most suave and ingratiating Renaissance master are here and there apparent. As in the early centuries of the Christian era, the persuasive voice of the East, the ancient cradle of the seven great religions of the world, is again being heard in the life of Europe, and perhaps something of that aloofness and symbolic spirituality that made Byzantine art great may again re-enter our art, too long held in the stultifying, paralyzing bondage of a matter-of-fact realism that observes the letter and lets the spirit go, paying homage to the transitory appearances of the natural world while totally ignoring the true and only reality which is the Divine Essence, or Spirit, the real subject-matter of Byzan- tine art as of all Oriental art.

This emphasis on the spiritual rather than on the material side of life led to the development of a type of figure, ascetic in the extreme, in which the body was at first concealed and then ignored until at last it became a pure convention, which finds its highest expression in the marvelous mosaics in the early churches of Rome, Ravenna, Naples, Venice, and, above all, in the architectural splendor of the church of Hagia Sophia in Con- stantinople, in which all the elements of decoration were fused into one supreme work of art. The marvelous co-ordination of parts to the whole achieved in this splendid edifice, dedicated to the Divine Wisdom, affects one like the closely interwoven har- monies of a Bach fugue. The total effect of these glowing mo- saics, with their involved interplay of abstract pattern, is akin to music, with which it has an affinity so intimate and subtle that the word mosaic is said to be of, the same root as the word music.

This, then, was the influence that gave form and substance to the early Christian art of Europe, struggling up from the wreck- age of Greek and Roman classicism. Its tortured crucifixions and pensive madonnas were eminently suited to the melancholy views of life held during the Middle Ages, and its supremacy was wide- spread and of long duration. It affected French, German, and Spanish art; it permeated the North and for seven centuries was the dominant influence in Italy, and in the East its spirit still

XX INTRODUCTION

survives, though greatly enfeebled through too much contact with European materialism.

ITALIAN PAINTING

The chief aim of early Italian painting was, like its Byzantine counterpart, to serve as adornment of wall and altar, where all who ran but could not read might get the message of the Church. The medium was chiefly fresco for walls and ceilings of chapels, churches, and palaces, and the prevailing themes scenes from biblical story.

Few portraits and few allegorical scenes were produced during the early Gothic period; art was the devout and willing servant of its chief patron, the Church, which prescribed the form that art should take. In all the works of this period (i 250-1400) we find an implicit symbolism, proclaiming its Oriental derivation, with ever the emphasis on the meaning rather than on the appear- ance of things. The repetition of dictated themes eventually resulted in a certain stilted conventionalism that disappeared only with the emancipation of art from the domination of the Church and its communistic doctrine, in the latter part of the fifteenth century, when a more personal and pictorial style came into vogue as a result of the growing individualism in art and life. This found its first definite expression in the work of Giotto (1276-1336), who grafted an Occidental naturalism on the ab- stract symbolism of the East.

Powerfully stimulating this nature-loving tendency of the European, a natural heritage from his pagan Greek ancestors, the influence of the teachings of St. Francis, who died in 1226, must be taken into account. To the Franciscan cult is directly trace- able the emotional and mystical love of nature and all living things, the tenderness toward saint and human, and the profound religious belief, now become almost wholly Christian, expressed in the Gothic art of the period. This was especially true of the School of Siena, where the precepts and traditions of the past seemed deeper rooted than at Florence, whose spirit was more robust and resolutely independent, and at times even a little coarse. The general trend of the Sienese was toward a sweet

INTRODUCTION XXI

refinement of face and figure that occasionally bordered on sen- timentalism, continuing the ornate gilding, tooling, brocades, and arabesques of their Byzantine models, eloquently personified in Duccio (1282-1339), the founder of the school, who embodied the past in the present with a mysterious poetic charm of group- ing and composition that often rivals in persuasiveness, if not in force, the nobility of his Florentine contemporary, Giotto.

Duccio's innovations of form and line, which gave renewed emphasis to the hands and feet, were carried forward by Simone Martini (i285?-i344), who was the most important of his imme- diate followers. He tempered the traditional types with a keen study of nature and at times endowed his figures with a passion- ate action quite foreign to his predecessors. With the brothers Ambrogio (c. 1323-1348) and Pietro (c. 1335-1348) Lorenzetti, something of Giotto's dramatic power, balanced composition, and naturalistic verisimilitude entered Sienese art, while continuing the Sienese tradition of decorative pattern-making in form and color and ornamental workmanship, which are its chief charac- teristics and marked it as the culmination of mediaeval art as opposed to that of Florence, only forty miles away, which was essentially the harbinger of that intellectual and political rebirth that was destined literally to discover to Europe a new heaven and a new earth. Between these two cities waged the age-old battle of the real with the ideal: the Sienese contending that "the Christian saints were not human but divine, not 'vulgar' but regal, not approachable but aloof," while the Florentines, in the person of Giotto and his followers, going to nature for their models, fashioned their saints in the image of man, which found its logical culmination in the intellectual objectivity of Raphael, whose Madonnas are little more than glorified Roman matrons, elevated by his art to the sanctity of sainthood.

We have but to compare the mundane charm and pulsating reality of Palma's very substantial angel, leading the youthful, boyish Tobias by the hand, with the hieratic, decorative aspect of Ferrari Ferrara's Coronation of the Virgin and Del Biondo's interpretation of the same theme (Nos. 20, 3, and 1 in this exhibition), to see how diametrically opposed were these two points of view in substance and treatment. Before the influence

XXll INTRODUCTION

of the Gothic spirit, which penetrated Italy from the North, the Byzantine tradition was gradually dissipated and eventually disappeared entirely, leaving not a trace of its influence in the works of the masters of the High Renaissance, who appear as far removed from their thirteenth, fourteenth, and early fifteenth century forebears as though they had been born today. Venetian art of Titian, Giorgione, Tintoretto, and Veronese and Florentine art of Leonardo and Michelangelo is already modern art in the best sense of the word, however much we persist in calling these painters "old masters." They had grappled with reality and gotten to the core of it, and to them El Greco went for guidance and Cezanne for sustenance, and most of the "discoveries" of our modern innovators are to be found in Leonardo's notebooks. If the Florentines were the leaders in technical knowledge and intellectual grasp of natural phenomena, as witness the clarity of design and execution of the portraits by Penni and Bronzino (Nos. lo and la in this exhibition), the Venetians were the assured masters of a rich, sumptuous decorative style in which the warmth and color of Italy, paradoxically, of the southern Italy, in close and constant touch with the Orient, found its true expression. The worldly-wise spirit of the people of this proud maritime republic, whose argosies sailed the seven seas, bringing treasure-trove from every land, was well expressed in their luxurious, sensuous, colorful art that had its beginnings in the fourteenth-century mosaics and ornamental altarpieces made of rich gold stucco-work of Byzantine derivation. Achieving its Golden Age in the sixteenth century, as early as 1460 it produced such masters as Giovanni Bellini, the greatest of the family of that name and the real leader of the early Venetians; Giorgione, who, like Raphael, died young, leaving few pictures and most of these the subject of critical controversy as to their true author- ship, yet a potent factor in the art of his day, influencing his great contemporaries, who numbered such giants as Titian, Tinto- retto, Veronese, Sebastiano del Piombo, Palma il Vecchio, Porde- none, and the subtle portraitist, Lorenzo Lotto; these and many other lesser lights fell under the spell of his magic, an eloquent reflection of which is to be found in the delicately characterized Portrait of a Gentleman by Lotto (No. 9 in this exhibition).

INTRODUCTION XXlll

This was the great epoch of Venetian painting, rivaling in splendor of color and audacity of design the great Florentine school of Leonardo (1452-1519), Michelangelo (1474-1564), and Raphael (1483-1520), in whose art there remained, even at its climax, something of the calm and noble severity of the North. As compared with the sensuous Venetians, running the gamut of the chromatic scale and reveling in art for art's sake, the Florentines preserved a certain austere intellectual detachment that found expression in the rather sharp color and aspiring lines of their lustreless frescos, in which theological, classical, even literary and allegorical subjects prevailed. Florence, unlike Venice, had a noble literary tradition that no doubt had its effect on the point of view of its painters, who were much occupied with the expression of abstract ideas. The spirit of Dante continued to brood over Florence, while the spirit of the Pearl of the Adriatic might fittingly have been personified in Venus rising out of the sea.

In the pietistic asceticism of the Sienese, the austere intel- lectualism of the Florentines, and the voluptuous sensuousness of the Venetians we have the three main currents in Italian painting, whose influence was felt far beyond their borders.

FLEMISH PAINTING

Flemish painting, or the art that was produced during mediaeval and early Renaissance times in Flanders, partakes so largely of German, Dutch, and French culture as often to be confused therewith, and hence a clearly defined demarcation is not always possible.

From the beginning the Flemings struggled against adverse circumstances, preventing both national and individual develop- ment, until the solidarity of their nation had been achieved under the Dukes of Burgundy, in 1384. Then only did they become politically strong enough to throw off the yoke of Germany and France and wealthy enough, through their fast-growing foreign commerce, to give substantial encouragement to the arts.

The earliest work of which we have any record is to be found in the manuscript illuminations and miniatures, the oldest of

XXIV INTRODUCTION

\vhich date back to the eighth century and reveal a marked Byzantine influence in figure and pattern, which gradually suf- fered the same transformation as took place in Italian art, be- coming freer in design and more naturalistic in treatment from the fourteenth century onward, attaining their greatest perfec- tion in the Prayer-Books, Missals, and Books of Hours, such as the Tres Beau Livre d'Heures in the Bibliotheque Royale, Brus- sels, the Tris Riches Heures of the Conde Museum, Chantilly, and the famous Grimani Breviary, executed after 1500, on a page of which we find the signature of Jan Mabuse, thus forming the natural transition from missal- to panel-painting that pro- duced at first the small altarpieces, usually a triptych, with a center panel and side shutters folding over like the covers of the missal from which it derives.

As everywhere else in Europe, the early Flemish panel-paint- ings pictured biblical subjects almost entirely, with an occasional attempt at portraiture of donor in prayerful attitude, accom- panying his gift of an altarpiece to chapel or church, and now and then an attempt at landscape, all seen and expressed with admirable skill and originality that quickly gave a very personal character to Flemish art. Uninfluenced at first by Italy, or Greek or Roman marbles, their art, founded on Byzantine tradition, which was soon discarded, developed a positive realism in the rendering of textures, perspective, color, tone, light, and atmos- phere, executed with masterly craftsmanship that eventually rivaled and even strongly influenced the Italians.

Flemish painting, as distinct from Missal and Prayer-Book illumination, begins with the brothers Hubert (i370.''-i426) and Jan (i390!'-i44i) van Eyck, who are credited with the discovery of oil-painting, a popular misconception of the facts, as oil- painting was known before their time; but they were the first to make a practical application of it to panel-painting. In their art, the outstanding glory of the School of Bruges, these brothers summed up the best qualities to be found in Flemish primitifs who, on the whole, are notable for their fine sense of co'or and pattern, their truthfully naturalistic rendering of the diverse tactile values of cloth, metal, stone, and the like, and their exquisitely sensitive modeling of face and figure, into which

INTRODUCTION XXV

Rogier van der Weyden (1399-1464) introduced a dramatic intensity of feeling, a tragic and mystical power, and a wonder- ful pathos that remained unequaled in the whole range of Flemish art. He abandoned much of the realism of the Van Eycks, and his drawing has a certain intense angularity, common to all true primitifs. He was followed by such learned technicians as Albert Bouts (i4io?-i475) and Hugo van der Goes (1440?- 1482), whose strong northern individualism exerted a consider- able influence upon the Florentine painters of the day.

Hans Memlinc (i43o?-i494) and his brilliant pupil, Gerard David (1460?-! 523), continued the Van Eyck-Van der Weyden tradition, with certain modifications of form and color, tending toward greater repose, dignity, and refinement of feeling and execution, technically and intellectually less forceful than their precursors, heralding the suave beauty of the Renaissance when the North began to ape the Italian pseudo-classic forms, tenta- tively introduced by Metsys (1466-1530), who traveled in Italy and became the first whole-hearted Italianized Fleming, though still remaining a Flemish primitif in his general attitude, whose qualities were transmitted to Jan Sanders van Hemessen (1536- 1555), the most notable of his various followers. Metsys marks the transition, developed by Jan Gossaert, called Mabuse (1472?- 1541), who brought back from his sojourn in Italy a love of classic composition with ornate architectural backgrounds and a use of the nude hitherto unknown in Flemish art, retaining, however, something of the Flemish gravity of sentiment and robustness of color that distinguished his predecessors.

These qualities were further developed by Bernard van Orley, who became the foremost exponent of the Italian influence upon Flemish art, so much so that his works are frequently attributed to Lombard painters of his time, though his most characteristic paintings retain a peculiar Flemish tang that should distinguish them from the work of his Italian contemporaries. His was the last affirmation of national independence, however, and the men who followed him only served to put Flemish art more com- pletely under the domination of Italian influence until Antonis Mor, commonly called Antonio Moro (1519-1576), entirely dis- carded everything racial, went to Rome, Madrid and London,

XXVI INTRODUCTION

painting numerous portraits in a highly accomplished and deco- rative manner that is artistically akin to Holbein, though having much of Italian and not a little of Spanish charm of design and color. His work marks the point of departure in Flemish art and paved the way for the ebullient decorative realism of Rubens, Jordaens, and Van Dyck, in whom is summed up the cosmopoli- tanism of the age, the full fruition of the regenerating force of the Renaissance that swept across Europe and knew no national- istic boundaries.

The story of this final fusion of ideas that made all Europe one culturally is familiar to all professing the slightest interest in art and needs no recapitulation here. Rubens and Van Dyck repaid in rich measure their Italian legacy and raised Flemish art to the proud pinnacle where it vied in power of invention, in rich, sonorous, and expressive color, and in originality of composition with the great Venetians.

Today we are once more strongly reminded of Flemish art in the person of Rubens, who shares with El Greco the distinction of being the most active generating force shaping the trend of modern art, as expressed by its most advanced practitioners, who find in his marvelous knowledge of composition a fertile field of inspiration. Nor should it be forgotten that he is the true pre- cursor of the complex and many-sided Renoir, who alone of painters since his time has penetrated into some of the secrets of his art — that is, if we except Turner, upon whom he exerted a powerful and decisive influence through his very original land- scapes that marked a distinct departure in the realistic and imaginative interpretation of nature. The sensuous appeal of his art, its striking color and torrential force, combined with his enormous productivity, which kept a score or more of able painters. Van Dyck among them, busy executing his designs, has so blinded the world to his true greatness that we little realize that as a master of Qpmposition he is second to none, entitled to be ranked with those three supreme masters of plastic composing: Leonardo, Michelangelo, and El Greco. With the present impressionistic and casual attitude toward the art of painting, shared by public and painters alike, which has brought this once noble art to its last stage of decadence, there is but

INTRODUCTION XXVll

small likelihood of Rubens' pre-eminence in the domain of com- position being discovered, appreciated, and emulated by the great body of contemporary artists.

DUTCH PAINTING

The early art of Holland is hardly to be distinguished from that of its neighboring states, and, generally speaking, may be char- acterized as Netherlandish rather than as specifically Dutch art, so much did it partake of the tendencies current in Flanders. The chief difference is to be found in a certain matter-of-fact literalness, an absence of the imaginative qualities of the more versatile and volatile Flemings, which made the Dutch essen- tially realistic in their art as well as in their politics.

No art better reflects the national traits of character of a people than does the art of Holland, which from its earliest be- ginnings was dedicated to a faithful transcription of the life, customs, and manners of every type of its citizens, from patrician to the most lowly proletariat. In its most literal sense, Dutch art holds up the mirror to nature with a pragmatic insistence on reality that rarely ventures into the realm of mysticism so elo- quently exploited by the early Flemish painters. To be sure, there are a few notable exceptions to this in the early art of Hol- land. And in Outwater (fl. 1450-1480), whose Resurrection of Lazarus in the Berlin Gallery is one of the rare works of this period, imbued with great sincerity and originality; in Geertgen tot Sint Jans (i465?-i493?); in the little known Master of the Virgo inter Virgines; in Engelbrechtsen (1468?-! 533); and in Lucas van Leyden, we have a few names not unworthy to rank with their great Flemish contemporaries, the Van Eycks and Van der Weyden, whom they resemble somewhat and by whom they were probably influenced in matter and manner. This, and the influence of the School of Cologne upon early Dutch art, served to mould its chief characteristics into so strong a sem- blance of Flemish and German art that it is ofttimes difficult to diflPerentiate clearly between the work produced in Cologne, Bruges, and Haarlem, so interwoven are the influences that shaped early art in the Netherlands.

XXVlll INTRODUCTION

The Italian influence that became potent elsewhere in Europe during the sixteenth century prevailed in Holland also, though to a lesser degree, and not a few of her painters sought inspira- tion in Italian travel, resulting in a curious eclecticism, in which the Dutch spirit was housed in an Italian body, producing mas- ters such as Scorel (1495-1562), Heemskerck (1498-1574), a man of great force and originality, Goltzius (1558-1616), Cornells van Haarlem (1562-1638), and Lastman (1583-1633), chiefly notable because he was the master of Rembrandt, with whom Dutch art came into its own, throwing off the yoke of foreign influence with a finality that at once placed it in the forefront of European art. This remarkable assertion of nationalistic self-consciousness extended to every corner of the little kingdom, producing a number of painters of the first rank in Delft, Haarlem, Amster- dam, Leyden, and The Hague, who vied with each other in tech- nical skill, truth of observation, and devotion to national type and character.

To mention the foremost names of these painters — Hals (1584 .''-1 666), Rembrandt (1606-1669), Maes (1632-1693), Ge- rard Dou (1613-1675), Adria'en vanOstade (i6io-i685),Terboch (1617-1681), Metsu (i 630-1 667), Jan Steen (i626?-i679), Pieter de Hooch (1630-16771'), Jan Vermeer of Delft (1632-1675), Van Goyen (1596-1656), Wijnants (i6i5?-i679i'), Jacob van Ruis- dael (i628?-i682), Hobbema (1638-1709), not to mention a host of excellent cattle, marine, and still-life painters, such as Paul Potter (1625-1654), Aelbert Cuyp (1620-1691), Willem van de Velde the Younger (1633-1707), and Jan de Heem (1606-1684?) — is to epitomize one of the most brilliant chapters in European art. Its point of view was almost wholly realistic, its subject-matter exclusively nationalistic, save for occasional religious and mytho- logical pictures, also marked by a strong racial tang in figure and treatment, unmistakably Dutch.

In the brilliant, vividly alive portraits of Franz Hals, rivaling Velasquez in sheer technical virtuosity and sureness of observa- tion of natural phenomena, in Rembrandt's synthetic grasp of the soul of reality, in Vermeer's delicately adjusted tonalities, subtle characterization, and exquisitely balanced patterns, we have the apotheosis of Realism, admirably perpetuated in the

INTRODUCTION XXIX

art of our day in the work of Courbet, Daumier, Millet, Manet, and Cezanne, in the portraits of Fantin Latour, and in the figure- pieces of Corot, all of whom owe something of their force and potency to these great Dutchmen who made the art of their country influential in the artistic councils of the nations.

GERMAN PAINTING

The earliest painting in Germany, as in Flanders, is undoubtedly to be found in the manuscript illuminations, missals, miniatures, and the like, in which biblical subjects are treated in an archaic manner, transmitted to the wall-paintings executed in the churches of the ninth century, and eventually to panel-painting, when this came into vogue during the latter part of the twelfth century.

Characteristic examples of this early archaic art are still to be found, the oldest being at Oberzell on Lake Constance, dating back to the tenth century, while other and better examples are to be seen in the monastery of Branweiler near Cologne, in St. Michael at Hildesheim, of the twelfth century, and perhaps the finest of all in the choir of the Brunswick cathedral, generally thought to date from the early thirteenth century, which is also accepted as the probable date of the oldest panels extant — the two from the Wiesenkirche at Soest, Westphalia, now reposing in the Berlin Museum.

Up to about 1450 painting in northern Germany, especially in Cologne, followed the Gothic tradition of gold backgrounds, rich decoration, supple, flowing lines, and idealized types, carry- ing with it much of the beauty and purity of color and delicacy of handling of the early miniaturists, well represented in the work of the group of anonymous painters known under the generic name of Meister Wilhelm, and in that of Stephen Lochner, or Meister Stephan, as he is also called, who flourished about 1450, and whose work has a tenderness of sentiment and handling that may be derived from contact with French and Italian art — at least, the lovely warmth and purity of his color, so unlike the harshness of color then prevalent elsewhere in Germany, induce to this conclusion. The painting of this period was more inter-

XXX INTRODUCTION

national than national, and native sentiment gave way to a certain realism in the figures and a splendor of ornamentation in robes and patterns that in certain instances recall Bouts and in others remind of the Van Eycks or Van der Weyden, without the latter's feeling for landscape and for aerial perspective, but with considerable originality of invention and skillful execution coupled with a rather fine sense of color that, on the whole, dis- tinguish the works of the chief painters of the time, most of whom are known and identified only by their works, such as the Master of the Life of the Virgin, the Master of the Kinsfolk of the Virgin, the Master of the St. Bartholomew Altar, the Master of the Heisterbach Altar, the Master of St. Severin, and Barthel Bruyn (1493-1557), the last representative of the Cologne School.

Political conditions, much like those that prevailed in con- temporary Italy, produced in Germany of their time (1450-1500) various local schools, which became independent centers of art, united by no national bond, and we have the Bohemian School, which flourished for a brief space in the fourteenth century near Prague, producing Theodorich of Prague, Wurenser, and Kunz, painters of no great distinction, though revealing a certain rugged, heavy Teutonic strength; the Nuremberg School, with no outstanding master to its credit, whose painters oscillated be- tween the sentimentality of Cologne and the realism of Prague; and the Suabian School, whose most notable personalities, Mult- scher (fl. c. 1437), Lucas Moser (fl. c. 1431), Witz (1400?-?), Pacher (fl. 1460), and Reichlich (1460?-! 520), were men of pro- nounced individuality and power, excellent draughtsmen and colorists. These were the real precursors of the great art which began with Schongauer and ended with Holbein, the Younger, a span of approximately one hundred years, from 1450 to 1550, which comprises all that made German art illustrious and inter- nationally influential. Its first center was Nuremberg and its first great master Wolgemut (1434-1519), the master of Diirer and the creator of characterful altarpieces, imbued with a serious if somewhat austere dignity that inclined toward a certain sharp- ness and angularity in the figures, recalling Bouts, who may have influenced him.

Here it is fitting to observe how diflFerent were the conditions

INTRODUCTION XXXI

under which German art flourished as compared with those under which Italian art developed. The latter was the product of the fostering patronage of the Church and wealthy, highly culti- vated nobles, while German art was largely the servant of the bourgeoisie, who were then in the ascendancy, and whose middle- class tastes cared less for extrinsic beauty and charm in art than for its intrinsic ethical content, and painting to be accepta- able had to point a moral or adorn a tale. This narrow and rather puritanical viewpoint was heightened and emphasized by the Reformation, which turned the thought of man inward to a con- templation of the nature of man instead of to an admiration of the color, beauty, and allurements of the natural world in which the Renaissance Italian found his chief delight and inspiration. The difference in viewpoints of these two countries is as marked and obvious as the difference in their arts, and no doubt it was this very difference which attracted the one to the other, making Diirer a general favorite and honored guest during his sojourn in Venice. But before the arrival of this supreme and universal genius, who infused the finest spirit of the Renaissance into German art, Martin Schongauer (1450-1491) had already sounded a note, at once highly personal and thoroughly national in type and treatment, and in his engravings attaining a truth of observation and a delicate precision in the rendering that make him more than a mere forerunner of Diirer (1472-1528). The latter, together with Hans Holbein, the Younger, (1497- 1543) raised German art to its highest peak.

These two men, so widely different in point of view and treat- ment, each in their separate ways furnished eloquent affirma- tions of the national spirit, which was deeply religious, though essentially practical and realistic. In Diirer we find revealed the contemplative, pietistic, imaginative German, somewhat naive and awkward and eminently practical, a bit of a Gothic with all of his scholarly Renaissance qualities, powerfully individual, possessed of real spiritual insight and great technical ability, that exhausted its resources in the rendering of details with an exquisite clarity and perfection that brought into being a new type of realism, since accepted as the distinguishing mark of the art of his day and after, his influence throughout Germany being

XXXll INTRODUCTION

widespread and potent, producing such able followers as Schaiif- felein (1480?-! 540?), whose work so closely resembles that of his master (he is thought to have been Diirer's apprentice) that the one is frequently confused with the other, as is also occasionally true of Hans Baldung (1476?-! 545), who was Diirer's assistant, painting replicas of several of his celebrated works, such as the life-sized figures of Adam and Eve, now in the Pitti Palace at Florence. These and a host of others, mostly engravers, now generally called "Little Masters," from the size of their en- graved plates, reduced Durer's personal traits to a formula that preserved the letter with but little of the spirit, creating a school of clever mannerists, whose chief service was to make clear by contrast the true virtues of the master whom they aped.

Holbein represents the other side of German character as developed in his time. Avowedly a realist, a more mature and sophisticated artist than Diirer, he was occupied with the life about him, moving and having his being in the world of facts rather than in the realm of ideas, a painter of shrewdly charac- terized portraits of nobles, royalties, and merchant princes, vividly projected upon paper or canvas with a few unerring lines that have something of the force and finality of a natural law. An infant prodigy, who made masterly drawings at the age of ten, he became one of the greatest exponents of linear harmony in the whole history of art, endowing line with a new significance, power, and beauty that has won the unqualified admiration of the world. Besides, he was a painter of large church panels and wall-paintings, a designer of cartoons, somewhat in the Italian manner, showing much invention but little real religious feeling or spiritual significance. He had no followers of consequence, though his three contemporaries — Matthias Griinewald (c. 1485- 1530)5 * file colorist and an imaginative artist of the first rank, and Lucas Cranach, the Elder, a portrait and figure painter of great individuality, and Christoph Amberger (i49oi'-i562?), whose Portrait of Emperor Charles F, in the Institute of Fine Arts at Siena,* is still ascribed to Holbein — produced works, both portraits and altarpieces, that are not unworthy of the high tra-

*The portrait of the same subject in the Berlin Museum is a replica by Amberger.

INTRODUCTION XXXlll

dition established by Diirer and Holbein and are deserving of most serious consideration in any survey of fifteenth- and six- teenth-century German art, when the Teutonic feeling for plastic form reached its apogee. Then followed the natural decline in Germany as in Italy, and art became mannered and stilted, pro- ceeding in the well-worn rut of established conventions.

SPANISH PAINTING

Spanish painting achieved its nationalistic self-consciousness later than either Italian, Flemish, or German art, by which it was strongly influenced. Its earliest manifestation is a matter of pure conjecture, as the incursions of Moor, Vandal, and icono- clast left little of value antedating the fourteenth century, and what followed for a long time bore the impress of foreign influ- ence so strongly as to make it little more than a mere echo of Italy, France, Flanders, or Burgundy.

From the very beginning, however, a certain Spanish flavor tinctured its technical procedure, the morose, melancholy gravity and mystical asceticism of the race lending a sombre cast to the colors of its painters. Spain is not all laughter and sunshine, blue skies and green fields, as represented in the popular imagination; one has but to recall that the Inquisition persisted there well into the eighteenth century to understand that the contrary is true. And Spanish art reflects this condition of affairs: it was and has remained an expression of the marked dualism of the Spaniard, steeped in a fervid Catholicism, a pietistic dreamer by nature become eminently practical by force of circumstances which for a long time gave the imperious necessities of today precedence over the allurements of manana and made of Spain a great and powerful nation, politically, commercially, and artistically. In the Spain of that day the Church was all-powerful, and art and religion went hand in hand — the ecclesiastical subject ruled.

More autocratic in their mandates than the King, the princes of the Church dictated the trend of art as well as statecraft, and painters followed their bidding implicitly, producing innumer- able saints and martyrs and crucifixions, in which torture and bloody violence reflected the ghastly and horrible scenes of the

XXXIV INTRODUCTION

torture chamber, where the gentle message of Christ was en- forced by the iron hand of the Inquisition. To be sure, a noble portraiture flourished side by side with the religious subject, but Murillo's saints were closer to the hearts of the people than Velasquez's aristocratic hidalgos, admirals, generals, and princes of the Church and State.

From about the eleventh to the fourteenth century art in Spain, like European art in general, emulated Byzantine tradi- tions in types and workmanship, which remained influential well into the fifteenth century, as may be seen in the excellent work produced by that remarkable dynasty of gifted painters, the Vergos family, which made its debut about 1434, with Jaime, and ended toward 1503, with his nephews or his sons, Jaime the second, Raphael, and Pablo, who greatly improved the general technique while retaining the gilded backgrounds, the flat deco- rative treatment of the figure, and the embossed ornamentation, all of which gives an archaic aspect to their work belied by the real painter-like qualities revealed in the execution of heads and hands and the very realistic expression of the faces of their saints and angels. But it is to Castile we must look for the first signs of a notable and definite direction in Spanish painting, which, under the influence of Stamina and Jan van Eyck, who are said to have sojourned there, assumed qualities of work- manship and a more realistic viewpoint that ally it with manifes- tations current in Italy and Flanders, producing men of such force and vigor as Bartolom6 Vermejo, rightly accounted the greatest of Spanish primitives, whose best work, such as his Saini Michael, in the Wernher collection, London, ranks with any of his Italian or Flemish contemporaries.

From thence on the Italian Renaissance became increasingly active in Spain, and art assumed a more realistic aspect, following Flemish as well as Italian models. Leonardo may be seen in the soft modeling and pensive expression of the saints and madonnas of Morales (i509?-i586), while the influence of the Flemish por- trait painter Antonio Moro upon his pupil and follower, Alonzo Sanchez Coello (1515?-! 590), is so pronounced that it is some- times difficult to distinguish master from disciple. Both pre- served a certain hard and formal manner, admirably suited to

INTRODUCTION XXXV

the atmosphere of haughty aloofness characteristic of Spanish court circles. But the true greatness of Spanish art does not fully assert itself until the appearance of Theotocopuli (i548?-i625), called "El Greco," who revealed its true physiognomy, com- pounded of an almost fanatical religious fervor, a realistic appre- ciation of the significance of natural phenomena, and a mystical interpretation of its relation to the spirit.

Strongly influenced by the Venetians, particularly Tintoretto, whose general style and color is followed with modifications and exaggerations in his earlier work. El Greco arrived in Spain about 1577, taking up his residence in Toledo, where his first works were the paintings for the high altar of Santo Domingo el Anti- guo. The reason for his coming to Toledo, like all other facts of importance concerning his life, remains shrouded in mystery, and, aside from various documents relating to certain lawsuits, contracts, and receipts, there is a singular absence of any specific evidence of his movements either before or after his arrival in Spain. Who were his parents, his wife, his immediate intimates, and all the personal facts of his private life, remain as effectually hidden as the soul of the man is clearly and eloquently revealed in his paintings.

So greatly misinterpreted that a clear understanding of his art is made well-nigh impossible by the violent opposition of extravagant praise and ignorant, almost fanatical disparagement of all those qualities which constitute his real greatness, EI Greco is at once a red rag of contention among academicians and a rallying cry to the progressives. Briefly, these qualities which set his work apart from that of even his greatest contemporaries are qualities of mind and imagination that conceived color in relation to form as an active organizing force, which gives an extraordinary potency and originality to his compositions. The essential modernity of his viewpoint has become the generating force in the art of our day, which is turning more and more toward Greco for spiritual as well as technical guidance and support.

The intense, burning religious fanaticism of the Spain of his day found in him its most devout exponent, and it may well be said that Greco's art, after its emancipation from its early Venetian

XXXVl INTRODUCTION

leanings, is all spirit, while that of Velasquez is more truly of the earth earthy, celebrating the glory of temporal things. This intensity of feeling, which found its expression in an emphasis of all those qualities that serve to reveal character, gives to his portraits and to the figures of the saints in his religious pictures a strange and compelling aspect of pent-up eagerness, as of souls seeking release from the bondage of flesh. In his indefatigable search for the true inwardness of man and matter, he carried his characterization to the point where it assumes the appearance of caricature to the literal-minded who, now as in his own day, are baffled and disconcerted by the mysterious, mystical force that is the soul of his art.

The appreciation of his work has therefore been correspond- ingly slow and confined to a few discerning artists, critics, and connoisseurs, by whom he is esteemed as one of the most original, moving personalities in the whole history of painting. Cezanne found in him the solution he was seeking of the fundamental problems of organized form and color, wherein lies the creative impulse of the art of painting. This principle of correlated forms, in which form and color are employed organically in relation to their spatial value — endowing his compositions with an incor- ruptible homogeneity, in which every part is intimately related to the whole — this generating principle, the true basis of all the arts, whether of music, drama, architecture, or painting, is El Greco's supreme contribution to painting. The color and form in his painting are as closely organized as an onion, and, like it, everything revolves around a common focal point, from which the forms radiate, overlapping and interlacing in a series of com- plex contours that are lost one in the other.

The application of this principle, whether to the portrayal of persons or places, endows his pictures with a vivid, arresting power that makes of his portrait of the castellated town of Toledo^ perched on its rocky eminence against a turgid sky, the most memorable portrait of a place ever painted.

His self portrait, belonging to the late Senor Don A. de Beruete y Moret, shown in the Exhibition of Spanish Old Masters held in the Grafton Galleries, London, in 1913, reveals him a bald- headed man with a dark, pointed beard, large ears, sloping

INTRODUCTION XXXVll

shoulders, and a face wearing the expression of a fanatic, with large, deep, dark eyes set in a bony, pallid, ascetic-looking coun- tenance. This portrait, which is assigned to his second period, 1 584-1604, shows him wearing a councillor's ruff and a black robe trimmed with fur, the whole bearing impressive to the point of austerity. And Pacheco, who visited him in 161 1, says that "He was in all things as singular as in his paintings," and that "He was a great philosopher given to witty sayings, and wrote on painting, sculpture, and architecture." The account given by Jusepe Martinez of how "He earned many ducats but spent them with too much ostentation on his house, carrying it even so far as to have subsidized musicians, in order to enjoy an additional luxury during meals," reveals a side of his nature hardly to be inferred from his paintings of ascetic saints and stern councillors, though, to be sure, his rich and beautifully harmonized color is in the highest degree indicative of a refined sensibility to which all forms of beauty were a necessity and not a luxury. And that he was far from being insensible to the appeal of what we are pleased to call "charm" is strikingly shown in the surpassingly lovely portrait of his daughter, painted, in the prime of life and loveliness, with a subtle and exquisite mas- tery of actual representation that rivals in skill and delicacy the supreme masters of realism. Like the love of music referred to by Martinez, this lovely countenance reveals the essential gen- tleness of a soul that may yet come to be esteemed rightly as the supreme glory of Spanish art.

Compared with him Velasquez (i 599-1 660) appears little better than a glorified Franz Hals, engrossed in the outward pomp and show of the visible world, which he painted with unsur- passed veracity. Rarely indeed have head and hand been so completely at the service of an observation so comprehensive and penetrating, which, through its sheer technical virtuosity, successfully simulates a depth of psychological analysis of char- acter in these brilliantly painted portraits that, in reality, they do not possess when subjected to searching scrutiny. Wedded to the earth and its glory, he was the first Spanish artist to break away completely from the domination of the Church, passing his life under royal patronage, painting for the most part por-

XXXVlll INTRODUCTION

traits of the scions of the House of Hapsburg, its ministers and great dignitaries, with occasional excursions into the domain of composition, wherein he wrought such notable masterpieces of vigorously and harmoniously grouped figures as the world- famous Las Meninas, The Tapestry Weavers, and The Surrender at Breda. In these, no less than in his many studies of dwarfs, beggars, and types of the countryside, in his portraits, landscapes, and genre pieces, he envisaged the visible world with a sure, fluent brush that set his figures squarely on the ground in an atmosphere of reality that has been the despair and admiration of artists ever since. In him the pragmatic side of Spanish character achieved its most striking apotheosis, but perhaps for that very reason he cannot be called its most representative interpreter, as his art is concerned with but one half of Spanish life and character. Rather, the palm must be awarded to El Greco. Velasquez had several pupils and followers who perpetuated his way of looking at things; Mazo (1615?-! 667), his son-in-law, was one of these, and Carreiio de Miranda, for a time his assistant, another, both of whom were painters of more than common ability, who have achieved the distinction of having certain of their works at- tributed to their master, so closely did they follow in his foot- steps.

After Velasquez came a rather rapid decline, and only a few names of consequence remain to be mentioned, one of the most notable being Francisco de Zurbaran (i 598-1662), whose art is one of the most typical expressions of the Spanish temperament, uniting the two main tendencies of the Spanish School of his time: fervent asceticism in feeling and unmitigated realism in its presentation. The heads in his portraits are strongly individ- ualized, revealing a degree of inner intensity of feeling surpassed only by El Greco. He had an astute and sympathetic under- standing of character, which he presented with a powerful and frank directness that endows his work with uncommon vitality. His masterly St. Thomas Aquinas, painted for the Collegiate Church in Seville, is one of the most impressive productions of the Spanish School, beside which the sweetly sentimentalized madonnas of Murillo (1618-1682) appear singularly insipid and ineffectual. His earlier paintings of peasant types had more

INTRODUCTION XXXIX

power and directness and show a sincere study of nature, which was later dissipated in a vaporous, misty rendering of form that was almost structureless. The other extreme is found in the rather forced contrasts and overdramatic emphasis of the art of Ribera (1588-1656), who was influenced by Caravaggio, and in turn strongly influenced Italian art of the Decadence. In him the Spanish love of the grotesque, the horrible, and of strong, brutal passions found its most powerful exponent and Spanish art its last notable representative. After him the corridors of the Spanish temple of art resounded with echoes of its past greatness, and until the arrival of Goya (1746-1828) Spanish painting was practically non-existent.

This very unusual and original genius, whose talent for art was discovered by a monk, was the son of humble peasants. His clear, ironic, and satirical mind saw through the shams and mock- eries of his age and depicted them with a brutal, unflinching truthfulness that spared neither saint nor sinner. His alert, ob- serving, and too truthful vision swept over the motley pageant of contemporary life like a withering flash of lightning, exposing its shams and subterfuges. In a series of social and political sa- tires, such as his Caprichos, and that fascinatingly repulsive expose of the horrors and the unspeakable bestialities of war, known as Desastres de la Gueira, he pilloried the faults and foibles of the society of his day.

The merciless ruthlessness of his characterizations of con- temporary "worthies," depicted with a mordantly revealing power, is well summed up in his unabashed and famous por- trayal of Maja, presented to the astonished gaze of Madrid lolling on her couch, sans clothes, sans modesty, sans everything that could in the slightest degree propitiate the conventions. But the discerning nature of the man's mind is even more clearly revealed in the portrait of the same subject in the same posture, properly clothed, yet infinitely more suggestive and provocative than the nude presentation of this lady, which in its day and since has continued to shock the sensibilities of the prudish who remain complaisantly insensible to the real subtlety of his wit.

To the end he remained in rebellious opposition to the canons and conventions of his day, and at the age of seventy-one, eleven

Xl INTRODUCTION

years before his death, he expressed the same cynical disregard of popular opinion in his interpretation of Santas Justa and Rufina in the Cathedral of Seville, the models for which were two notorious courtesans, which he painted with the observation that he would make vice worshipped. In him Spanish painting achieved a brilliant restoration of its lost prestige, and through him it was destined powerfully to influence the direction of mod- ern art through the French Impressionists, who found in his modernity of subject and treatment a fertile field of inspiration.

FRENCH PAINTING

Early painting in France reveals marked Byzantine derivation in form and color, influencing the miniaturist and illuminator as well as the painter of frescoes, who adopted the traditional types made familiar in Byzantine art, and it even extended to the early glass-painting in the churches, which by the thirteenth century had become a widely practiced craft in France. Certain of the Missals and Books of Hours of these early days contain minia- tures depicting both mundane and religious subjects of a beauty of color and workmanship quite unsurpassed in its particular field.

The fourteenth and fifteenth centuries witnessed an ever- increasing realism in drawing and color with a corresponding loss in the decorative value of the designs produced during this period. But this growing realism, a reflection of the change tak- ing place elsewhere throughout Europe, did not bring with it an increase of national character. Painting in France still remained a composite of various influences, chiefly Flemish and Italian, though to what degree and whether or not the early painters were really French or foreigners, imported by the court, still remains a much-mooted question. Certainly very few, if indeed any, of these early men who are known to us exhibit a clearly defined racial physiognomy, and it would therefore be a useless digression to burden this brief introduction to our collection of eighteenth-century paintings with a recital of their names, which may be gleaned from any adequate history of French art. Suffice it to say, the growing influence of Italy, culminating in the visit

INTRODUCTION xH

of Leonardo to the court of Francis I, who had an unbounded admiration of all things Italian, promoted the firm establish- ment of the classical ideal in art and architecture, and for two centuries the home of the Gothic was given up to a sedulous aping of antiquity. An exception to this, so notable that it is deserving of more critical consideration than it has so far received, is found in the vigorous realism of the brothers Le Nain, who flourished in the early seventeenth century. They made a sincere and eminently successful attempt to portray the life of their day, producing a type of genre distinguished by its faithful observa- tion and vigorous execution that is a striking anticipation of nineteenth-century realism. But these resolute and individual voices passed unheeded in the midst of the classical chorus that was echoing Italy and the Italians, and despite their originality and integrity of character they remained an isolated phenomenon in the art of their time, left, like the books of Stendahl, to be discovered and esteemed at their true worth by a later age.

With the advent of Louis XIV to the throne of France paint- ing assumed a more definite nationalistic character, though, to be sure, this was as superficial as the life of the day, colored by the artificiality of the court and the bombastic character of the King, who delighted in all manner of grandiloquent and pom- pous shows that left little room for sincerity of purpose. The result was a prostitution of art to the vanities of the day, which meant power and position to him who could best flatter the con- ceit of the King and his fawning courtiers, whom we find de- picted in the guise of the heroes of antiquity, the Caesars and the great conquerors, Hannibal, Alexander, and Xerxes, whose exploits were transformed into triumphs of Louis. The most active and industrious of these flatterers was the decorator and portrait painter Charles Le Brun (i 619-1690), the virtual artistic dictator of the realm. Possessed of very considerable technical ability and rather adroit in the" disposition of the numerous figures he assembled in his pseudo-historical compositions, his affectations, his weak drawing and poor color made him a baneful influence upon the art of his time. Largilliere (1656-1746) and Rigaud (1659-1743) were equally typical products of a time that made a ceremony of dress, creating a Pantheon of dressmaker's

Xlii INTRODUCTION

models, without heart, soul, or wit. Nevertheless, one must admit that these painters correctly reflected the spirit of their day, and their art is therefore far from negligible as authentic docu- ments in the social and cultural history of France, whose life under the Regency tended more and more to an insipid dilet- tantism that found its highest pleasure in the creation and enjoy- ment of a make-believe Arcadia of shepherds and shepherdesses in silks and satins.

The saving grace in all this frivolity was its revelation of truly charming decorative quahties that betrayed a native sense of design and color, since recognized as typically French. It marked the beginning of something essentially racial and national, that was destined to find its fuller expression in the delicate and sprightly conceived coquettes of Watteau (1684-1721), in the voluptuous and sensuous amours of Fragonard (i 732-1 806), and in the subtle realism of Chardin (1699-1779). With Watteau, French art came into its own. He was the painter who, above all, epitomized the seductive and languid spirit of the time, bril- liantly personified in his Embarcaiion for Cythera, in which he assembled the various groups of lovers scattered throughout his works, who are here shown embarking for the island of the blest with a certain coquettish hesitancy that only serves to heighten the sensuous appeal of this exquisite gathering of devotees of Amor.

In these poetic fetes ga/antes Watteau created a new genre of ingratiating charm, whose subtle insinuations have come to typify the France of his day. Apart from his subject-matter, he was essentially modern in the practice of his art, introducing a new method of handling color that anticipates the Impression- ists in its qualities of light and atmosphere. In fact, he may be accounted among the first of latter-day French painters, whose delicate, ethereal fancy was given a Rubenesque turn and volup- tuousness of form and color a hundred years later in the viva- • cious, daring art of Fragonard (i 732-1 806), in whom the school came to a brilliant close after having produced such facile deco- rative painters as Tocqu6 (1696-1772), Van Loo (1707-1771), and Boucher (i 703-1 770), who transformed Watteau 's charming fetes into a glorified stage-show that was as decorative as it was

INTRODUCTION xHli

unreal. But now, as in the seventeenth century, when the Le Nain brothers made their ineffectual protest, there were not wanting those whose sincere and frank natures revolted at all this banality, producing art totally at variance with the affected spirit of the times.

Chardin was the outstanding example of this rare sort of in- dependence, and he was little understood by his contemporaries, whose eyes were unaccustomed to such delicately observed and truthfully expressed realism, whose silvery tonalities, fluent, expressive brush work, and beautifully balanced compositions recall something of the exquisite perfection of the art of Ver- meer. A painter's painter, he has still to attain the vogue among collectors and connoisseurs which his art merits. The best traits of French character are summed up in him. The reaction to all the make-believe in art and life (the two are really synonymous, the first only following the latter) against which the work of Chardin was a protest, came with a return to an objective view of art when, for the third time, it submitted itself to classic discipline, finding its inspiration in Greek and Roman marbles, taking delight in correct drawing, perfect proportions (accord- ing to ideal standards), and balanced composition.

Its foremost exemplar, its priest and prophet, was Jacques Louis David (1748-1825), whose practice set the fashion for French painting for nearly half a century. Its general style was sculpturesque rather than pictorial, its treatment precise, im- personal, and unsentimental, reflecting the prevailing martial spirit surging in Revolutionary France, of which David became the acknowledged representative in art, which did not, however, prevent him from later paying assiduous court to Napoleon, whose reign he immortalized in a series of brilliantly painted canvases, such as the famous Coronation of Napoleon /,in the Louvre, which display all his qualities of sound workmanship, naturalistic por- traiture, and ordered composition. He was accompanied by a group of accomplished portrait painters, among whom we find such brilliant painters as Duplessis (1725-1802) and the inimitable Vigee Le Brun, who gave to French portraiture a new distinction of line and color, whose charm still commands the admiration if not the emulation of the world of art, now fallen so strongly

xliv INTRODUCTION

under the spell of modern French art, through which the re- creating force of ancient ideals of painting is again reasserting itself.

BRITISH PAINTING

Painting in England, in the modern acceptance of the word, did not come into existence as a native art until the seven- teenth century, when the foreign influence imported by Holbein, Rubens, Van Dyck, Lely, and Kneller had been assimilated and given national expression in the work of Hogarth (i 697-1764), who is really the first painter of any importance in the history of English art.

It is not without its special significance that the first artist of note to make his appearance in England should be a satirical anecdotalist and moralist, an illustrator, whose chief concern in his pictures was to point a moral and adorn a tale, thus re- flecting the true English genius, which has always found its most characteristic expression in literature rather than in the plastic arts. In his point of view and choice of subject-matter Hogarth was really of the school of Addison, Dryden, Pope, and Sheridan, whose vein of satirical humor finds its pictorial counter- part in his work, brilliantly expressed in his series of social satires depicting The Rake's Progress, wherein the faults and foibles of the day were held up to ridicule with a sense of char- acterization unrivaled in English art. A fluent, supple brush- man, as a painter he was to the manner born, and possessed of such verve and originality that he remains one of the most in- teresting personalities in the whole range of English art.

That he had a decided influence upon Reynolds (1723-1792), who was his most brilliant successor, is obvious both in the early Self Portrait and in the Caricature of Johnson, Totten Beauclerk, Bennett Langton, and Reynolds Himself, shown here under numbers no and 109. Something of an infant prodigy, making drawings at the age of seven, Reynolds was influenced in his development by the art of Hogarth, Van Dyck, and Rembrandt, besides being a devoted student of the great Ital- ians, especially the Venetians, whom he greatly admired and

INTRODUCTION ' xlv

emulated in many of his portraits. A true cosmopolitan, at home with the literati no less than with society, Sir Joshua was a true eclectic, culling the virtues of many schools with a learned regard for tradition, which he expounded in his famous "Dis- courses," delivered before the Royal Academy during his presi- dency, and clearly exemplified in his art. Imbued with a strong sense of reality, his best portraits have a vitality and character that give him a leading place in the creation of an English School of painting, and his influence upon the art of his country was far-reaching and lasting.

His great contemporary (and toward the end his rival), Gains- borough (1727-1788), was a more original and forceful talent, who ganged his own gait regardless of rules — an independent, temperamental nature, and perhaps the most English of all the English painters. At first strongly influenced by the Dutch landscape painters and Van Dyck in portraiture, through dint of shrewd and constant study of nature he soon developed a manner wholly his own, revealing an uncommonly fine sense of color and design, always imbued with a poetic and decorative quality that sets his work apart in the history of English art. As may be seen by the examples of his work shown here, he excelled in landscapes as well as in portraits. The latter were usually painted in a cooler key of color than the landscapes, which continued to follow somewhat the warm, romantic tonality of the Dutch landscapists. His work is replete with experiments and departures from traditional practice, revealing the original turn of his mind, the most notable example of which is his cele- brated Blue Boy^ painted as a demonstration of the fallacy of Reynolds' dictum that a composition should always be warm in- color and light.

A not unworthy rival of these two pillars of English art was the brilliant and vivacious Romney (i 734-1 802), whose many portraits, especially of women, are frequently quite as masterful both in execution and characterization as any of Reynolds and Gainsborough. A talented, ambitious man, an astute observer of physiognomy, a brilliant technician, whose grace and freedom of line gives unquestionable charm to his portraits, he has failed of attaining the highest place by reason of a certain incoherence

Xlvi INTRODUCTION

in composition and lack of co-ordination in his work. Neverthe- less his success was so great and his rivalry with Reynolds so pronounced that, by 1781, Lord Thurlow, then Lord High Chancellor, declared that "Romney and Reynolds divide the town, and I am of the Romney faction."

Various minor stars, acceptable and even very able painters, such as Ramsay (1713-1784), Cotes (1725-1770), Opie (1761- 1807), and Beechey, gravitated into the orbit of these major constellations and existed more or less by reflected glory, emulat- ing the manner of their superiors with varying degrees of success.

A notable exception to this general mediocrity is found in Raeburn (i 756-1 823), the highly individual and original Scotch- man. He stands out among the portrait painters of his time in England by reason of the bluff candor and straightforward frankness of his characterizations, which are imbued with a Scotch veracity and a directness of handling that is comparable to Hals and Velasquez. To be sure, his art is marked to some extent by the prevailing fashions of the day, but he is none the less the least conventional of the great British portrait painters, and his influence then and since has been widespread. He was a shrewd and penetrating reader of character, which he presented in the most convincing and unaffected manner possible. Nor are his works lacking in subtlety of handling. His technical pro- cedure was as direct and unaffected as his point of view; he appears to have made no preliminary studies for his portraits, nor did he use chalk or pencil in placing the subject on the canvas, which he attacked at once with the brush and without employing a mahlstick.

The work of his contemporary, Lawrence (1769-1830), is as suave and ingratiating as that of Raeburn is blunt and out- spoken. Courted and feted at home and abroad from his earliest youth, made Painter in Ordinary to the King at the age of twenty-three, he was the painter of society /><zr excellence, paying flattering homage to power and beauty, with a courtly grace and distinction that rivals Van Dyck and gained for him a similar place in the affections of the English nobility. His portraits are imbued with a sparkling vivacity that endows them with some- thing of the vitality and animation of life itself.

INTRODUCTION xlvil

But, however brilliant and interesting may be the English school of portrait painting, it is the landscape painters who have made the only real nationalistic contribution to the art of paint- ing in England. Deriving much of its force and subtlety of ob- servation from the early Dutch landscape painters, especially Hobbema and Ruisdael, English landscape painting eventually achieved its independence of foreign models, and in Constable and Turner came to exert its influence upon the art of Europe, thus repaying the debt to the early Dutchmen and to Poussin and Claude Lorrain, from whom Richard Wilson (1713-1782), generally considered the father of English landscape painting, derived. He represented the pseudo-classic trend of the times quite successfully, and his paintings are marked by a consider- able elevation of theme and sentiment highly reminiscent of Claude. His meticulous sincerity of workmanship and his natural gift for composition made him an influential force in moulding the trend of English landscape painting, powerfully affecting the direction of Turner's genius.

With the appearance of Old Crome (1769-1 821) English landscape painting developed its first native school, since known as the Norwich School, in the vicinity of which Crome and his followers painted the English scenery with a freshness and truth- fulness that set their work apart from the stilted and conven- tional studio concoctions of their day. All Crome's work is characterized by an admirable directness and vigor of handling directly traceable to his long apprenticeship in coach painting, than which there is no better training for a painter, as Whistler attested when he said, "One should paint like a house-painter," a conclusion arrived at after his long and intimate association with the two boat painters, the brothers Greaves. Traveling much about England, Crome painted its hills and dales and dark flat moorlands with a robust and manly vigor and a veracity of observation of nature's phenomena quite extraordinary for the time, pointing the way to his great successor, John Constable (i 776-1 837), who, together with Turner, constitutes the out- standing glory of English landscape painting.

An original nature, endowed with uncommon powers of observation, who drew inspiration from the Dutch at first.

xlviii INTRODUCTION

Constable came to personify in his art all that was essentially racial and characteristically British. Going directly to nature for his guidance, he introduced the true out-of-doors feeling in his landscapes, abolishing the conventional golden-brown studio tonality affected by the Dutchmen, and in its stead we have the veritable colors of nature, the blues and greens and silvery grays which he observed there. Broadly handled, his landscapes are a synthesis of the form and color of nature, with the breath, light, and air of out-of-doors, which had such a decisive effect in in- fluencing the direction of modern French art. He was the first great realistic landscape painter, the father of the whole modern school of landscape painters in France and America as well as in England.

With Turner landscape painting in England reached its apogee. This much-debated and greatly misinterpreted genius raised the art of landscape painting to a level with figure and subject painting. An original and ofttimes daring colorist, his composi- tions have something of Homeric invention and poetic grandeur, and over his landscapes and marines there shines a light such as never was on land or sea. His painting is more the expression of a cosmic law, a natural phenomenon, like the elements he de- lighted to depict, than mere artistic invention. It is imbued with the turbulent, torrential force of nature itself, for the expression of which he was one of the most sensitive instruments in the whole range of art, finding its counterpart only in Tintoretto, Rubens, Rembrandt, and Michelangelo. Like these, he trans- gressed all laws and boundaries set by academies for the pro- tection of mediocrity, and he is anathema to all those who ploddingly attempt to measure the universe with their yard- stick. The greatest poet who has thus far celebrated on canvas the awesome glory of the world, his work broke down the in- sular isolation of English art and made it an influential part of Continental art, upon which he exerted the most potent and far-reaching influence, that gradually changed the whole face of modern European art. J. N. L.

CATALOGUE

PATRONS & PATRONESSES

OF THE EXHIBITION OF PAINTINGS

BY OLD MASTERS

E. RAYMOND ARMSBY LEON BOCQUERAZ

MRS. ERNEST COWELL MRS. CHARLES TEMPLETON CROCKER

CHARLES TEMPLETON CROCKER WILLIAM H. CROCKER

JOHN S. DRUM SIDNEY M. EHRMAN

EMPORIUM, THE HERBERT FLEISHHACKER

JOHN GALLOIS WILLIAM L. GERSTLE

JOSEPH D. GRANT E. S. HELLER DANIEL C. JACKLING

MRS. MARCUS KOSHLAND JOHN LAWSON

SEWARD B. McNEAR MRS. ELEANOR MARTIN

WALTER S. MARTIN HON. JAMES D. PHELAN

COUNT CHARLES DU PARC DE LOCMARIA C. S. STANTON

LAURENCE I. SCOTT MRS, GEORGE A. POPE

RICHARD M. TOBIN WILLIAM C. VAN ANTWERP

BARON J. C. VAN ECK PAUL VERDIER

JOHN I. WALTER MRS. ANDREW WELCH

MICHEL D. WEILL GEORGE WHITTELL

GRECO-BYZANTINE: ST. JOHN

CATALOGUE

Abbreviations: H. ( Height ),-'w. (Width); in. (Inches).

''Right" y "left", refer to right ^ left

of the spectator

The catalogue has been arranged by schools and chronologically under each school. The illustrations have been selected to ex- emplify the diversity of subject-matter as well as the various schools comprised in the exhibition. The attribution of author- ship as given by the owner of each picture has been adhered to herein.

GRECO-BYZANTINE [CIRCAXV CENTURY] See Introduction

ST. JOHN No. I

On wood H. wyi in.; w. gj4 in. Lent by The Bourgeois Gallery

DELBIONDO [ACTIVE: SECOND HALF XIV CENTURY] ITALIAN (FLORENTINE SCHOOL)

GIOVANNI DEL BiONDO: Little or nothing is known of this very interesting personality, rediscovered some ten years ago, to whom several works of great interest and value are now attributed with a very considerable degree of certainty. Among these is the large triptych of the Annunciation with several Saints, in the Gallery of Ancient and Modern Art at Prato. From recent re- searches it would appear that he was born in Val d'Arno, some- where about the second quarter of the XIV Century, and that he became a citizen of Siena, besides working in Florence, which seems to have been the scene of his chief activity. The Academia of Florence as well as the Gallery of Siena contains beautiful examples of his art. And in the Church of SS. Maria and Lorenzo may still be seen a very beautiful fragment of a large altarpiece

4 ITALIAN PAINTING

which has long been famous as the special pride of the country- side of Florence.

CORONATION OF THE VIRGIN No. 1

On wood H. 34>^ /».; w. i^yi in. Lent by The Ehrich Galleries

FERRARA [ACTIVE: XIV CENTURYl ITALIAN (SIENESE SCHOOL) FERRARI FERRARA, an extremely gifted painter about whom little or nothing has been discovered as yet except that he was actively working in Siena about the middle of the fourteenth century.

CORONATION OF THE VIRGIN No. 3

On wood H. io>^ in.', w. 6K in. Lent by The DeMotte Galleries

DA CAMERINO [ACTIVE: XV CENTURY] ITALIAN SCHOOL

GiROLAMO Di GIOVANNI DA CAMERINO: Generally supposed to be the son of Giovanni Boccati and identified as the painter of an altarpiece at Santa Maria del Pozzo in Monte San Martino near Fermo that is signed and dated 1473. It represents the Madonna and Child and Four Angels between SS. Thomas and Cyprian.

PIETA No. 4

On wood H. 16 in.', w. 18 in. Lent by The Ehrich Galleries

LAMBERTINI [ACTIVE: MIDDLE XV CENTURY] ITALIAN (BOLOGNESE SCHOOL)

MicHELE DI MATTEO LAMBERTINI IS Icnown to have been actively at work in Bologna between 1445 and 1470, during which time he painted various altarpieces and other decorations for churches in Siena as well as in Bologna, where his Pieta, dated 1462, and his

ITALIAN PAINTING

Virgin and Child, dated 1469, are now in the Academy. The dates of his birth and death are unknown.

ST. JOHN THE BAPTIST AND

ST. JOHN THE APOSTLE No. 5

On wood H. 52^ in.', w. 23}^ in- Lent by The DeMotte Galleries

MANTEGNA [SCHOOL OF: 1431-1506] ITALIAN (PADUAN SCHOOL)

mantegna's striking qualities, his extraordinary power as a draughtsman and designer, his devotion to Roman art, his deep ^-^Cjj

Vwv>Y

pagan spirit, and the humanistic tendencies combined with his

profound intimacy with the mystic significance of Christianity -^v~ .^t^yft-'t*-^ made his influence irresistible, not only in Padua and Mantua, y >f / j- , but in Venice, and a number of fine works, such as the one ex-

hibited here, are among the rich heritage of this influence.

CHRIST ON THE CROSS No. 6

On canvas h. 34 in.; w. 18 in. Lent by The Durand-Ruel Galleries

/

LUINI [i475?-i53i-32] ITALIAN (MILANESE SCHOOL)

BERNARDINO LUINI : Born at Luino near the Lago Maggiore about 1475; supposedly, he was a pupil of Borgognone, and later influ- enced by Bramantino, Gandinzio Ferrari and Leonardo in Milan. So much did he fall under the influence of the latter, that not a few of his paintings have been attributed to Leonardo, whose peculiarly personal color and composition he so thoroughly assimilated and made his own that it requires the most intimate acquaintance with the works of both to discriminate between them. His early works bear no trace of Leonardo's style. He achieved his most personal expression in his frescoes. He died in Milan in 1531-32.

6 ITALIAN PAINTING

ST. CATHERINE No. 7

On wood H. 24^ ;■«.; w. 14X ^"«- Lent by The Kleinberger Galleries

DOSSI [1479-1541] ITALIAN (SCHOOL OF FERRARA)

GIOVANNI, commonly called Dosso Dossi and sometimes Giovanni di Nicolo di Lutero: Born about 1479, in vicinity of Ferrara; pupil of Lorenzo Costa; visited Rome and later Venice, where he spent five years studying the Venetian masters, especially Gior- gione and Titian; visited Mantua in 1511-12, where he exerted a strong influence on the young Correggio; excelled in portraits as well as in historical, biblical and mythological subjects, and made cartoons for the tapestries in the Cathedral at Ferrara, where he died in 1541.

A WARRIOR No. 8

On canvas h. i<)}4 in.; w. 23^ in.

Collection of: The Marchese Malaspina di Riggio Emilia. Reproduced in " Ras-

segna d'Arte," June, 1915, page 1 24, with article by F. Mason Perkins.

Lent by The Ehrich Galleries

LOTTO [1480-1556] ITALIAN (VENETIAN SCHOOL)

LORENZO DI TOMMASO LOTTO: Born 1480 at Venice; pupil of Al vise Vivarini, whose influence is plainly discernible in his earlier works; later he fell under the influence of Giovanni Bellini, even- tually developing one of the most personal styles of all the Vene- tian painters; visited Rome, painting in the Vatican with Raphael and later fell under the spell of Titian; died in Loreto in 1556.

PORTRAIT OF A GENTLEMAN No. 9

On canvas h. 28>^ /«.; w. 26 in.

Collection of: The Duke of Devonshire and of Count Goloubew, Paris. Listed in:

Waagcn's "Art Treasures" (Treasures of Art in Great Britain), London, 1854,

SCHOOL OF MANTEGNA: CHRIST ON THE CROSS

No. 6

LUINI: ST. CATHERINE

Xo. 7

ITALIAN PAINTING 7

Vol. Ill, page 345; also in Algernon Grave's " Summary of Waagen," London, 191a, page 112.

Lent by The Ehrich Galleries

PENNI [I488P-I528} ITALIAN (FLORENTINE SCHOOL)

GIOVANNI FRANCESCO PENNI, Called il Fattore, was a Florentine painter: Born about 1488; went to Rome when very young and was received into the School of Raphael, becoming his favorite disciple, being employed by him in many of his most important commissions, particularly in the work Raphael did for Leo X in the loggia of the Vatican; he collaborated with Giulio Romano in the execution of the History of Cupid and Psyche in the Farne- sina and later with Perino del Vaga, his brother-in-law. He died in 1528.

PORTRAIT OF A YOUNG LADY No. lO

On canvas h. 26>^ in.\ w. 16% in.

Exhibited in the Italian Loan Exhibition in New York, November, 191 7, No. 83. Authenticated by Bernhard Berenson, who believes that it was painted by Penni about 1525. He considers it one of the finest examples of the Roman School of portraiture, composed along the line of the Roman formula, as created by the combined efforts of Raphael and Sebastiano del Piombo. He regards it as one of the most characteristic works of Penni, who, together with Giulio Romano, was the best known of Raphael's pupils and assistants, and in reality were the true authors of nearly all of that famous painter's later works. This portrait is there- fore of more than ordinary interest as reflecting those qualities that gave Raphael his position of pre-eminence in Italian art.

Lent by The Kleinberger Galleries

MORETTO [i498?-i555?] ITALIAN (SCHOOL OF BRESCIA)

ALESSANDRO BONviciNO, Called Moretto Da Brescia: Born at Brescia about 1 498; pupil and assistant to Ferramola and later influenced by Savoldo, Romanino, Titian and Raphael. At his best, Moretto is accounted the greatest provincial painter in northern Italy of his time; he produced both religious paintings and portraits as well as allegorical compositions. Certain of his

8 ITALIAN PAINTING

paintings were for a long time attributed to Raphael; Moroni, the great portrait painter, was his pupil.

ALLEGORY OF THE SOUL No. II

On stone h. 15 in.', w. 11% in.

The trio is painted upon a peculiar black marble and represents the attributes of the soul, the trinity of Mind, Will and Memory. On the right, Will is shown holding the sceptre of omnipotence, crowned with gold, her wings showing her heavenly origin, and her facile, mobile, impelling power; on the hem of her robe is inscribed Volunta. The central figure, a nobly proportioned athlete, repre- sents Mind, showing the strength of the mental structure with great ability to comprehend and command, and with his face turned toward Will as ever ready to do those things to which she shall incline him, while an undying flame, leaping from his head, shows the ardor and activity of the mental faculties. On the hem of his robe is inscribed Intellectus. On the right. Memory holds the mirror of Truth in which she may see events and the Book of History in which they are recorded and on the side of which is inscribed Memoria. The passive character of Memory is indicated by her back being slightly turned to the others, whose domain is action. The group was executed as a pendant to his Faith, Hope and Charity, which is still in the possession of the noble house of Lecchi in Brescia. The Allegory of the Soul, during one of the Italian wars, found its way to Florence, where it has been until recently the property of the Princess Bourbon del Monte, having changed ownership but three times in three centuries and a half.

Lent Anonymously

BRONZING [i502?-i57a] ITALIAN (FLORENTINE SCHOOL)

ANGELO ALLORi, Called Angelo di Cosimo di Mariano, generally known as Bronzino: Born at Monticelli; pupil of Jacopo da Pon- tormo, whose unfinished works Bronzino completed; executed several murals in fresco and in oil for public buildings of Flor- ence, but he is chiefly known as a portrait painter identified with the Medici family, many portraits of which are still preserved in Florence. He was an admirer of Michelangelo and an intimate of Vasari, and was a poet as well as a painter; died at Florence, November 23, 1572.

PORTRAIT OF COSIMO I. DE MEDICI No. 12

On wood H. 23 in.\ w. 26% in.

"The Lord Duke, having seen from these and other works the excellence of this painter, and that it was his particular and peculiar field to portray from life with the greatest diligence that could be imagined, caused him to paint a portrait of himself, at that time a young man, fully clad in bright armour, and with one

"... ^ ^"^'■

lotto: portrait of a gentleman

No. 9

PENNI: PORTRAIT OF A YOUNG LADY

No. lO

ITALIAN PAINTING 9

hand upon his helmet. ..." Vasari. Cosimo I, Duke of Florence, son of Gio- vanni de Medici, called Giovanni delle Bande Nere, and the gentle Maria Sal- viati, was born in Florence June ii, 1519, and became Duke of Florence on the death of Alessandro in 1537. Two years later, he married Eleonora, the only child of Don Pedro di Toledo, Marquis of Villafranca and Viceroy of Naples, whose wealth and influence helped to make his position on the throne secure. Cosimo was created Grand Duke of Tuscany in 1569. After Eleonora's death, which took place in 1562, his temper became more violent and he gradually neglected the government of his country; eventually, in 1571, he married a woman of low station, Camilla Martelli, and lived in retirement in the villa of Castello, where he died April 21, 1574, and was buried with much pomp in San Lorenzo, Flor- ence. He had eight children by his first wife, four of whom died before him. Cosimo was a tyrant in every sense of the word, yet he ruled in such a manner that, under him, Tuscany, from a small, impoverished state, became the most important in Italy, rich, flourishing and independent; he also founded the Academy of Florence, reopened the universities of Pisa and Siena, and formed the gallery of the Pitti Palace. Collections: Charles Sedelmeyer, Paris, (repro- duced in his "Old Masters" Catalogue, 1900, No. 54, and in his sale, 1907, No. 98); Marczell de Nemes, Budapest.

Lent by The Knoedler Galleries

CAMPI [i5oo?-i572l ITALIAN (SCHOOL OF CREMONA)

Giuuo CAMPI, elder son of Galeazzo Campi: Born at Cremona in 1500; in 1522 he was studying under Giulio Romano at Mantua as an architect and modeler; his earliest known work is the High Altar in the Church of St. Abbondio at Cremona, painted in 1527, and his last work was the decoration of the Virgin's Chapel in Sta. Maria di Campagna, Piacenza, which remained unfinished at his death in 1572. He enjoyed a reputation as an architect as well as a painter, being consulted in the restoration of Sta. Mar- gherita in Cremona, for which he painted a series of frescoes in 1547. Strongly influenced by the Venetians, he developed a man- ner quite personal to himself.

PORTRAIT OF A PHILOSOPHER No. I3

On canvas h. 32 J/^ in.\ w. 28 K ^'«-

Collection of: Sir Edward Page Turner, Bt., of Battlesden House, Preston Park, Brighton, England.

Lent by The Ehrich Galleries

lO ITALIAN PAINTING

MARCONI [FLOURISHED: LATE XVI AND EARLY XVII CENTURIES] ITALIAN (VENETIAN SCHOOL)

Rocco MARCONI: A native of Treviso; pupil of Giovanni Bellini. His chief performances are in the Academia at Venice; his pic- ture in the Church of San Niccolo, considered one of his earliest works, is dated 1605; he was an engraver as well as a painter.

PORTRAIT OF A VENETIAN NOBLEMAN No. I4

On wood H. 12H i^-l w. io}4 in.

Exhibited: National Gallery, London, for about two years. Royal Academy, 1875, No. 186, by William Graham, as a "Portrait of a Young Man," by Gio- vanni Bellini. "Venetian Art Exhibition," New Gallery, London, 1895, No. 149, by J. P. Carrington. Reproduced: "Study and Criticism of Italian Art" by Bernhard Berenson, London, 191 2, Vol. I, facing p. 126; and mentioned there on p. 126 as follows: ". . . The same colouring and the same style of landscape reappear in one of the most delightful portraits of the Venetian School (No. 149, belonging to Mr. J. P. Carrington) — the bust of an alert, self-possessed, sym- pathetic, youngish man, with bushy brown hair, wearing a black cap and a black coat slashed with white — in conception not unworthy of Bellini himself, although widely different from him." Reproduced as a frontispiece in "The Lotus Magazine," New York, February, 191 8. Mentioned: "Venetian Painters of the Renaissance," by Bernhard Berenson, London, 1909, p. 127. Collections: Wm. Graham (sold 1886, No. 449, as a Bellini); J. P. Carrington.

Lent by The Knoedler Galleries

LO SPAGNA [ACTIVE: XVI CENTURY] ITALIAN (SCHOOL OF PERUGIO)

GIOVANNI Di PiETRO, called from his nationality Lo Spagna or Giovanni Spagnuolo, also Juan de Espana and Juan El Espanol. Our first definite knowledge of this painter would appear to date from about 1507, when he made his first appearance at Podi as an independent master; his instructors are thought to have been Perugino and Pinturicchio and he is known to have been the companion of Raphael at Perugio. He died at Spoleto between 1528 and 1530.

ST. JEROME No. 15

On wood H. 14^^ ;■«.; w. loH *'»• Lent by The Ehrich Galleries

BRONZINO: PORTRAIT OF COSIMO I. DE MEDICI

No. 12

MARCONI: PORTRAIT OF A VENETIAN NOBLEMAN

ITALIAN PAINTING II

TINTORETTO [1518-1594] ITALIAN (VENETIAN SCHOOL)

jACOPO, called il Tintoretto, "The Little Dyer," on account of his father's trade: Born in Venice in September, 151 8; appren- ticed to Titian, but for some unknown reason summarily dis- missed; he is supposed to have worked under Bonifazio and is known to have been influenced in his early studies by the work of Titian, Palma, Michelangelo and Parmigianino; he was the culminating genius of the Venetian School, combining in himself the several excellencies of his contemporaries; he died in Venice on May 31, 1594.

PORTRAIT OF A YOUNG MAN No. l6

On canvas h. 25 /«.; w. 21 in.

From the collection of Baron Schacky, Munich. Exhibited in the Italian Loan Exhibition, New York, November, 1917, No. 100.

Lent by The Kleinberger Galleries

PORTRAIT OF FRANCESCO MOROSINI No. I7

On canvas h. 46X i^-'-, w. 37 5^ in.

The picture comes from the Morosini collection at Mestre, Venice. (A Portrait

of Battista Morosini by Tintoretto is in the Venice Academy.)

Lent by The Knoedler Galleries

VERONESE [1528-1588] ITALIAN (VENETIAN SCHOOL)

PAOLO CALiARi, Called Veronese, was born in Verona; first studied under Badile and Brusacorci in Verona; went to Venice in 1555 and immediately was given several important commissions which gained him the recognition of Titian and Sansovino, Director of Buildings to the Signoria, and thenceforth his success was as- sured; in 1573 he completed his Feast in the House 0/ Levi, whichy because of his introduction of German soldiery, buffoons, parrots and other mundane creatures, resulted in his trial before the Inquisition, which compelled him to delete the most obnoxious figures. This trial in no way affected his reputation, however, and princes and nobles continued to compete for his works, nor

12 ITALIAN PAINTING

did he cease decorating churches and monasteries in and about Venice, where he died in 1588.

PORTRAIT OF COUNT PORTI No. I 8

On canvas h. 43 K /"«•; w. 39^^ in.

This portrait formed part of the series of decorations executed by Paolo Veronese in the Villa of Tiene, near Schio (Vincentiaro); and was still in its original stucco frame when acquired. Vasari, in the second edition of "The Lives of the Pain- ters" (1568, Vol. Ill, p. 525), briefly alludes to this work in a passage where he relates that Battista da Verona " painted in company with PaolinOy a hall in the Palace of the Paymaster and Assessor Portesco at 'Tiene in the territory of Vicenza; where they executed a vast number of figures, which acquired credit and repute for both the one and the other." As Veronese was born about 1528, these decorations must have been painted before he was forty, and were there- fore of his early period.

Lent by The Knoedler Galleries

GIANPEDRINO [FLOURISHED: XVI CENTURY] ITALIAN (MILANESE SCHOOL) GIOVANNI PEDRiNi, Called GianpedHno or Giampietrino, whose real name was Giovanni Pietro Ricci. He was a follower of Leo- nardo da Vinci, whose style he emulated and sometimes exagger- ated. He is thought to have studied with Leonardo about 1508 and is supposed to have lived in Milan between 1510 and 1530 and for a short time in Pavia about 1521. Paintings definitely identified with his name are not numerous and the facts of his life and death remain clouded in obscurity.

PORTRAIT OF A YOUNG LADY No. I9

On wood H. 24 in.\ w. ao in. Lent by The Ehrich Galleries

PALMA [1544-1628] ITALIAN (VENETIAN

SCHOOL)

jACOPO PALMA, called il Giovine:Born in Venice, 1544; pupil of

his father, Antonio, and strongly influenced by the works of

Polydoro Caravaggio; some of his best pictures are in the Palace

of the Doge in the Academia, Venice, and he is represented by

notable works in various Venetian churches.

ITALIAN PAINTING I3

TOBIAS AND THE ANGEL No. 20

On canvas h. 52^ in.; w. 71 in. Lent by The Ehrich Galleries

MAZZUOLA [ACTIVE: MIDDLE XVI CENTURY] ITALIAN (SCHOOL OF PARMA)

GiROLAMO MAZZUOLA, whose real name was Bedolo, adopted his father-in-law's name, Pietro Ilario Mazzuoli: Born at San Laz- zaro near Parma; pupil of his cousin, Parmigiano, whose style he imitated.

PORTRAIT OF OTTAVIANO FARNESE,

SECOND DUKE OF PARMA No. 21

On canvas h. 52 in.; w. 41 3^ in.

Inscribed on the left anor. xxii.

Collections of: Duke de Cardinale, Naples; Prince del Drago, Rome. Exhibited

in the Italian Loan Exhibition, New York, November, 1917, No. 98.

Lent by The Kleinberger Galleries

ITALIAN SCHOOL [XVI CENTURY]

See Introduction

HEAD OF CHRIST No. 22

On wood H. 8 J^ in.; w. 6% in. Lent by The DeMotte Galleries

ITALIAN SCHOOL [XVI CENTURY]

See Introduction

MADONNA, CHILD, AND SAINTS No. 23

On wood H. 43 in.; w. 27 in.

Inscription on the frame ave maria gratia plena.

Lent by The Ehrich Galleries

14 ITALIAN PAINTING

TIEPOLO [1696-1770] ITALIAN (VENETIAN SCHOOL)

GIOVANNI BATTISTA TIEPOLO: Born at Venice, 1696; influenced by Piazzetta and Veronese; married to Guardi's sister; an extremely prolific and fluent painter, the last of the great Venetians; elected first Director of the Venice Academy in 1755; visited Madrid in 1762, where he remained until the year of his death, 1770, loaded with honors and commissions.

THE VIRGIN AND CHILD WITH SAINTS No. 24

On canvas h. 17% in.; w. 11% in.

Collection of: Arthur Sachs, Esq., New York.

Lent by The Kleinberger Galleries

CANALETTO [1697-1768] ITALIAN (VENETIAN SCHOOL)

GIOVANNI ANTONIO DA CANALE, Called Canalettoor il Tonino: Born in Venice, October 18, 1697, where he died April 20, 1768. He was the pupil of his father, Bernardo da Canale, a decorator and scene painter, with whom he worked until about 171 9, when he aban- doned the theatre for easel painting. He became famous during his day for his paintings of views of Venice, its canals and piazzas, and his work has remained popular ever since. The figures in his paintings are almost all painted by Giovanni Battista Tiepolo. He was an etcher as well as a painter, and etched some thirty-odd plates of views of Venice.

PIAZZETTA No. 25

On canvas h. 25H in.; w. 21)4, in. Lent by The Ehrich Galleries

CANAL IN VENICE No. 26

On canvas h. 14^^ in.; w. 23% in. Lent Anonymously

CANAL IN VENICE No. 27

On canvas h. 14^^ in.; w. 12% in. Lent Anonymously

TINTORETTO: PORTRAIT OF FRANCESCO MOROSINl

No. 17

VERONESE: PORTRAIT OF COUNT PORTl

No. I 8

FLEMISH PAINTING I5

WEYDEN [SCHOOL OF: CIRCA 1400-1464] FLEMISH SCHOOL

ROGiER DE LA PASTURE, or Roger van der Weyden: Born at Tournai between 1397 and 1400; son of a sculptor in whose art he was trained; apprenticed later to Robert Campin (Le Maitre de Flemalle) he painted a wide range of biblical subjects and portraits, all of which are imbued with an inner intensity of feel- ing expressed with great force and delicacy that had a wide in- fluence on Netherlandish and German art. Roger van der Weyden died at Brussels 1464, leaving several pupils and followers, one of whom probably painted the picture shown here.

PIETA No. 28

On wood H. 5 Jl in.; w. 4!/^ in. Lent by The DeMotte Galleries

MASSYS [SCHOOL OF: 1466-1530] FLEMISH (SCHOOL OF ANTWERP)

QUiNTEN MASSYS, or Quintin Matsys or Metsys, is supposed to have been born at Louvain about 1466. This very personal artist may be regarded as a connecting link between Roger van der Weyden and Hugo van der Goes on the one hand and Rubens on the other, while still remaining essentially a primitive at heart; his varied and complex personality, which found expression in characterful portraiture, humorous and typical genre pieces of daily peasant life, as well as religious compositions of an exalted nature, had considerable influence on several of his contempora- ries, one of whom undoubtedly is responsible for the picture shown here.

THE CRUCIFIXION No. 29

On wood H. 273^ /«.; w. 18% in. Lent by The DeMotte Galleries

MABUSE [i472?-i535?] FLEMISH SCHOOL

(MAUBEUGE)

JAN GOssART, or GOSSAERT, generally called Jan van Mabuse or

l6 FLEMISH PAINTING

Malboge, or Malbodius, as he sometimes signed himself, or De Mabeuze, from his native town of Maubeuge, where he was born about 1472, son of Simon the bookbinder, who worked for the Abbe of Sainte-Aldegonde. It is thought probable that through this channel he might have had opportunities to study the illumi- nations on the early missals. We have no certain knowledge of who was his master, though Memlinc, David, and Massys have all been suggested as his possible teachers. At all events, he was admitted as an independent master to the Guild of St. Luke at Antwerp in 1503, and we find him entered in the register under the name Jennyn van Henegouws (John of Hainault). His early pic- tures are signed Jennyn Gossart, but later he adopted the Latin form: loannes Malbodius (John of Maubeuge). Once in the register of the Guild of Our Lady at Middelburg, he is entered as Jan de Wael (John the Walloon). He was "one of the first to bring back from Italy the true manner of arranging and composing 'histories,' full of nude figures and of all manner of poetry, which was not practiced in our lands before his time," says a contem- porary writer. Besides painting various notable religious com- positions he painted many portraits of important personages, such as King Christian II 0/ Denmark and His Bride. He died in August of 1533.

PORTRAIT OF A YOUNG WOMAN No. 30

On wood H. 1 9 J^ /';?.; w. 15^ in. Lent by The Kleinberger Galleries

ORLEY [i479?-i542] FLEMISH (SCHOOL OF BRUSSELS)

BERNARD, BARENT, or BERNAERT VAN ORLEY: Bom, probably, in Brussels about 1479. He was of a patrician family; and according to tradition, he visited Rome in 1509 and met Raphael; his earliest works reflect the influence of Gerard David, Massys, and Mabuse. He was a friend of Diirer, who visited him in Brussels in 1520 and painted his portrait. One finds in his works various reminiscences of Italian art and marked traces of Raphael influ- ences. He was Court Painter to two Regents of the Netherlands.

lAXPEDRINO: PORTRAIT OF A YOUNG LADY

No. 19

SCHOOI, OK MASSVS: THK CRLCIKIXION

FLEMISH PAINTING I7

VIRGIN AND CHILD No. 3I

On wood H. 24% in.] w. 19JI in. Lent by The DeMotte Galleries

DE BLES [1480? -1521-50?] FLEMISH SCHOOL

HENDRiK, commonly called Herri or Henri Met de Bles (signify- ing, "with the forelock") and by the Italians nicknamed Civetta because, instead of signing his works, he usually painted an owl in one of the corners: Born at Boubignes near Dinant about 1480. He emulated the style of Jpachim Patenier. His pictures have a curious commingling of childlike naivete and sophistication which gives a singular charm to his works. He died at Liege be- tween 1 521 and 1550.

TRIPTYCH: THREE SCENES IN THE LIFE

OF THE VIRGIN No. 32

Center panel : Adoration of the Magi

Left shutter: The Nativity

Right shutter: The Flight into Egypt

On wood: Center Panel h. 41 3^ in.; w. 28 % in. Left Panel H. 41 }/2 in.; w. 12^ in. Right Panel u. 41 J^ in.; w. 12% in. Collection of: J. Dominquez Fern. Patto, of Paris.

Lent by The Ehrich Galleries

BRUGES, SCHOOLOF. See Introduction

CORONATION OF THE VIRGIN No. ^3

On wood, oval u. g}/8 in.; w. yj^ in. Lent by The DeMotte Galleries

BLONDEEL [1495-1560] FLEMISH SCHOOL

(BRUGES)

LANCELOT or LANSLOOT BLONDEEL: Born at Bruges about 1495

and died there in 1560. He was originally a mason, and not until

his twenty-fifth year did he turn his attention to painting. In its

l8 FLEMISH PAINTING

general style as well as color his art betrays a strong Italian in- fluence. He designed the chimneypiece in the Council Hall at Bruges, which contains statues of Charles V and other monarchs.

MATER DOLOROSA No. 34

On wood H. 203^ in.; w. aoj^ in.

Illustrated with article by Pierre Bautier, the author of the book on Blondeel, appearing in Bulletin, " Des Musses Royaux," July, 1 91 1 .

Lent by The Ehrich Galleries

VAN HEMESSEN [i504?-i555?] FLEMISH SCHOOL

JAN SANDERS, Called Jan van Hemessen or Heemsen or van Hemissen, after his native village Hemixen, near Antwerp, where he was born about 1504; pupil of Hendrik van Cleef, the Elder; about 1535-37 establishing himself at Antwerp; became Dean of the Guild of St. Luke in 1547-48; toward the close of his career he migrated to Holland, where he settled and died about 1555-60.

PORTRAIT OF

SIGNEUR VAN PEEMAN OF CASSEL No. 2S

On wood H. 25 in.; w. 19^ in.

The following is a translation of the inscription on the frame: "In order to live in this house in Peace and goodfellowship as in an impregnable castle, treat your brothers in accordance thereto, for truly God is there where Peace reigns."

Lent by The Ehrich Galleries

^■^ ST. JEROME No. 36

^^ On wood H. 26 in.\ w. 19^ in.

^^ Bated: 1530

Lent by The DeMotte Galleries

TENIERS [1610-1690] FLEMISH SCHOOL DAVID TENIERS, THE YOUNGER; also signed himself Tenier in cer- tain early works. Painter and etcher. Baptized at Antwerp December 15, 1610; pupil of his father, David Teniers, the Elder; later came under the influence of Rubens and Adriaen Brouwer. Court Painter to Archduke Leopold William and the recipient of

^

lABUSE: PORTRAIT OF A YOUNG WOMAN

No. 30

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VAN orley: virgin and child

No. 3;

FLEMISH PAINTING

19

royal favors bestowed by other European sovereigns. He died at Brussels, April 25, 1690, and was buried at Perck.

WIFE OF THE ARTIST IN

THE GARDEN OF THEIR HOME No. 37

On canvas h. 62 in.; w. 6^ in.

Collection of: M. Saindelette, Minister in the Belgian Cabinet of Frere-Orban;

and Micaise Collection.

Lent by The Ehrich Galleries

BENSON [ACTIVE: i5i9?-i55o] FLEMISH SCHOOL

AMBRosius BENSON or BENZONE: Place and date of his birth un- known, but he is known to have been of Lombard origin; elected member of the Council of the Guild at Bruges in 1521, 1539, 1540 and 1545 and Dean in 1537-38 and 1543-44; acted as adviser to the Magistrate of Bruges in regard to the decoration of the Landshuis; died in 1550.

PORTRAIT OF A MAN No. 38

On wood u. iy% in.; w. 123^ in. From Mrs. Philip Lydigs Collection

NEUFCHATEL [ 1520?- 1590?] FLEMISH (SCHOOL OF ANTWERP)

NICOLAS NEUFCHATEL, Or DE NOVO CASTELLO, Called Lucidcl, Was

born in 1520 at Mons, Hainault; pupil of P. Cock van Aelst in Antwerp; worked in Nuremberg and in Prague; painted a por- trait of Princess Anna, daughter of Emperor Maximilian II, and of various other notables of his time, many of which are now attributed to Holbein; he died probably in Nuremberg in 1590.

PORTRAIT OF EDWARD SCAMBLER No. 39

On wood u. 28 J4 i'^-; w. 22 in.

Inscribed in upper right-hand corner anno dominis 1586,

AETATIS, SVAE, 74

Inscribed: Upper left-hand corner, under family crest: "E. Scambler, Norwic Epus,0B 1594," painted by another hand, probably after the death of the sitter.

20 FLEMISH PAINTING

Edward Scambler, the subject of this portrait, was bishop of Peterborough and Norwich; buried in Norwich Cathedral.

Lent by The Kleinberger Galleries

MORO [I5i2-i9?-i576?] FLEMISH SCHOOL ANTONis MOR, Called Antonio More in England, and Moro in Spain; also known as Moor: Born in Utrecht about 1512-19; pupil of Jan van Scorel after that painter had become Italianized, and his influence is discernible in Moro's early portraits; later he emulated the style of Holbein quite successfully; painted his- torical subjects as well as portraits; was the favorite Court Painter of King Philip II of Spain until he fell out of favor through an indiscreet jest; died in Antwerp some time before 1582.

PORTRAIT OF SENORA DEL RIO No. 4O

On canvas h. 22^ ^"-5 w. 263^ in.

Collection of: Baron van der Graecht of Bruges, a descendant of the Del Rio family.

Lent by The Ehrich Galleries

RUBENS [1577-1640] FLEMISH SCHOOL

piETER PAUL RUBENS: Born at Siegen, Westphalia, in 1577; studied first with Tobias Verhaagt, then with Adam van Noort from 1 591 to 1594, after which he studied four years under Otho van Veen; in 1600 he went abroad and made an extended sojourn in Italy and, upon his return to Antwerp in 1608, became Court Painter to Albert and Isabella, regents of the Netherlands; com- missioned by Marie de Medici to paint a series celebrating the most conspicuous events in her life; between 1627 and 1630 he was sent on two quasi-diplomatic missions to the Courts of Madrid and London; his career can be divided into three fairly distinct periods: from i6cxd to 1609; from 1609 to 161 7 and thence to his death May 30, 1640.

THE HUNT No. 4I

On wood H. 29 /■«.; w. 60 5^ in.

Article by Dr. W. R. Valentiner in "Zeitschrift fiir Bildende Kunst," May, 191a,

(Vol. XXIII, Section 8, page 186). This is one of several such compositions

FLEMISH PAINTING 21

painted by Rubens as a result of his understanding study of the revolutionary principles of composition revealed in Leonardo's famous decoration known as The Battle of the Standard, then engaging the interest of the world of art and now known chiefly through the copy of it made by Rubens, which is one of the treasures of the Louvre. It affords a striking example of Rubens* progressive and wide-awake mind.

Lent by The Ehrich Galleries

VAN DYCK [1599-1641] FLEMISH SCHOOL

ANTONIUS, ANTHONIS, ANTHONIE, ANTOON Or ANTONIO, usually

called Anthony Van Dyck, painter and etcher: Born in Antwerp, March 22, 1599; apprenticed to Hendrik van Balen at the age of ten, and six years later entered the studio of Rubens, with whom he remained five years. At the age of nineteen he was admitted into the Painters' Guild of St. Luke at Antwerp; visited Italy and studied the works of Titian, Veronese, and Tintoretto; visited London in 1632 and became the favorite Court Painter of Charles I, who conferred upon him the first title of knighthood ever given an artist in England; died in London December 9th, and was buried in St. Paul's, December 11, 1641.

PORTRAIT OF THOMAS CHALONER No. 42

On canvas u. 4i}i in.'^vf. 2'^}4: in.

Thomas Chaloner, the subject of this portrait, was one of the most prominent figures in the struggles between the Stuart Kings and his people. He was one of the judges who signed the death warrant of Charles I in 1648. This portrait is one of two painted of Thomas Chaloner by Van Dyck and is declared by Dr. Bode to be one of the best examples of the master's art during his residence in England, The other portrait, about the same size as this, passed into the possession of the Empress Catherine and now adorns the Hermitage in Petrograd.

Lent by The Ehrich Galleries

PORTRAIT OF

PRINCE DORIA OF GENOA No. 43

On canvas h. 30^ in.; w. 24 J/^ in.

From the Collection Podio, Venice. Dr. Hofstede de Groot, who examined the picture carefully, declares it "to be a genuine and characteristic picture by Anthony Van Dyck, of his Genoese period."

Lent by The Knoedler Galleries

22 DUTCH PAINTING

BOSCH [i46o?-i5i6] DUTCH SCHOOL HiERONYMUS VAN ACKE>f, known as Jeroen and Jerome, but more generally called Hieronymus Bosch (or Bos) from his birthplace, Hertogenbosch (Bois-le-Duc), where he was born between the years 1460 and 1464 and where he died in 15 16. In his strange and mystical representations of spectres, devils and incantations, this original Dutchman is the precursor of William Blake. Occa- sionally he departed from this strange vein of mystical and almost diabolical humor to interpret in a spirit of devout piety religious themes, such as the Flight Into Egypt and Christ Bearing His Cross in the Church of Bois-le-Duc. Examples of his work are comparatively rare, and the engravings which were formerly ascribed to him are now known to have been executed by Alaert du Hameel and other masters, from Bosch's designs.

A SAINT No. 44

On wood H. 15 ;«.; w. 10 in. Lent by The Ehrich Galleries

GOYEN [1596-1656] DUTCH (SCHOOL OF HAARLEM)

JAN josEFsz VAN GOYEN: Born at Leyden; he had five instructors before he was nineteen; after a visit to France in 161 5 he studied with Esaias van de Velde at Haarlem; his works of this period show remarkable proficiency while reflecting the influence of his last master; left Leyden, 1631, and settled in The Hague, where he resided until his death busily engaged meeting the demands of an ever-increasing public; he married and had two daughters, and lost heavily in various speculations; his work is typical of the best traditions of Dutch landscape painting.

LANDSCAPE No. 46

On wood H. 14 in.', w. 12% in. Lent by The Knoedler Galleries

VAN HEMESSEN: ST. JEROME

No. 36

DUTCH PAINTING 2^

PALAMEDES [1601-1673] DUTCH SCHOOL

ANTHONiE PALAMEDES Or PALAMEDESz, Called Stcvacrts; usually signed himself A. Palamedes: Born in Delft about 1601, son of Palamedes Stevaerts, a gem engraver; became a member of the Guild in 1621 and was its President continuously from 1651 to 1673, ^h^ y^^'* o^ his death in Amsterdam; his art was developed under the influence of Michlel Jansz Mierevelt and Franz Hals. He frequently collaborated with A. de Lorme and is said to have painted the figures in the architectural pieces of his friend Dirk van Delen.

PORTRAIT OF A LADY No. 47

On canvas h. 32^ in.; w. 263^ in.

Signed A. palamedes p la kit. Dated 16^4

Lent by The Ehrich Galleries

REMBRANDT [i6o6?-i669] DUTCH SCHOOL

REMBRANDT HARMENSz VAN RijN, painter and etcher: Born at Leyden July 15, 1606 (?); died in Amsterdam October 8, 1669. He excelled in every branch of painting and made the then obscure and insignificant art of etching one of the great arts, his drawings being no less significant of his greatness than his paint- ings. His versatility and creative fertility, coupled with a reveal- ing power of characterization, revivified by a vigorous imagina- tion, made his art the outstanding glory of his epoch, not only in Holland but in the whole of Europe.

ST. PETER No. 48

On wood H. 151^ /■«.; w. 12H in.

Illustrated in article by Dr. Bredius in "Art in America, " Vol. I (i9i3),No. 4, page 276.

Lent by The Ehrich Galleries

DE HEEM [1606-1683?] DUTCH SCHOOL (UTRECHT)

JAN DAviDszoON DE HEEM: Bom at Utrccht in 1606; died between the 14th of October, 1683, and 26th of April, 1684, at Antwerp;

24 DUTCH PAINTING

pupil of his father, David de Heem, the flower painter. He was one of the most accomplished and brilliant painters of still life of the naturalistic school, then so much in vogue in the Low Coun- tries.

TABLE WITH FRUIT , No. 49

On canvas h. 46 /'«.; w. 66 K in. Signed j. d. de heem, f. Dated 1663

Collection of: The Rt. Hon. Lord Grimthorpe.

Lent by The Ehrich Galleries

WIJNANTS^i6i5-25?-i682?] DUTCH SCHOOL JAN wijNANTS, One of the founders of the great Dutch School of landscape painting: Born at Haarlem, probably about 1615; the main events of his life are clouded in obscurity; tradition has it that he was the master of Philips Wouwerman and of Adriaen van de Velde; his earliest known pictures are dated 1641 and 1642, while the latest date so far discovered on any of his pic- tures is 1679, signed to the painting in the Hermitage at Petro- grad; he worked at Haarlem and in Amsterdam, where it is sup- posed he died some time around 1680.

CHATEAU DE CLEVES No. 50

On canvas h. 32% /'«.; w. 40 in. Signed ]. wijnants. Dated 1675 Lent by The Ehrich Galleries

BOL [i6i6?-i68o] DUTCH (SCHOOL OF AMSTERDAM)

FERDINAND BOL: Baptized in Dordrecht, June 24, 161 6; son of Balthasar Bol, a doctor; settled in Amsterdam before 1640 and became a pupil of Rembrandt. The Portrait of an Old Lady in the Berlin Gallery, signed and dated 1642, is his earliest known work; he attained a very considerable artistic and financial suc- cess, and many of his paintings and etchings have been attributed to Rembrandt and vice versa. He was buried at Amsterdam on July 24, 1680.

VAN DYCK: portrait of prince DORIA of GENOA

No. 43

BOSCH: A SAINT

No. 44

DUTCH PAINTING 25

THE TEMPTATION No. 5I

On canvas h. 3634 in.; w. 45% /'«.

The young woman in this picture bears a strong resemblance to Rembrandt's wife Saskia, who very likely posed for Bel during the time he studied with Rem- brandt.

Lent by The Durand-Ruel Galleries

CUYP [1620-1691] DUTCH (SCHOOL OF HAARLEM)

AELBERT CUYP or cuijP: Bom at Dordrecht in October, 1620; studied with his father, Jacob Gerritsz Cuyp; his earliest pictures date from 1639, being chiefly landscapes and coast views, swiftly sketched with little detail in the manner of Van Goyen and P. Molyn; became extremely versatile, painting portraits of the gentry with their horses as well as studies of animals and fowls, landscapes and genre pieces, suffused in a golden glow of light; certain of his pictures reveal rather marked Rembrandt influ- ence; he died at Dordrecht and was buried November 6, 1691.

HALT OF DUTCH NOBLEMEN

BEFORE AN INN No. 52

On wood H. 163^ /■«.; w. 21 in.

Collection of: Sir John Newington Hughes (1810); Joseph Bosch, Vienna (1885);

and of George of Epernay. Described in Smith's Catalogue Raisonne, No. 219;

engraved for the Bosch Collection.

Lent by The Durand-Ruel Galleries

RUISDAEL [1628-29-1682] DUTCH (SCHOOL OF HAARLEM)

JACOB VAN RUISDAEL, son of a frame maker: Born at Haarlem; was a member of the Painters' Guild as early as 1648; his early works are simple in motif and carefully studied, but rather heavy and opaque in the shadows, a fault entirely absent in his later works, which reveal him as one of the most profound interpreters of nature in the whole range of landscape painting.

26 GERMAN PAINTING

LANDSCAPE WITH CASCADE No. ^2

On canvas h. 30 J^ in.; w. 37 in.

Signed ruisdael. Dated 1680

Described in Smith's Catalogue Raisonne, Supplement, page 697, No. 47.

Described and reproduced in the Catalogue Febvre, No. 82. Exhibited: British

Institution, 1841. Collections of: Lord Crew, London; A. Febvre, Paris, 1882;

Adolphe Schloss, Paris.

Lent by The Kleinberger Galleries

MAES [1632-1693] DUTCH SCHOOL

NicoLAAS MAES or MAAS, portrait and genre painter: Born at Dordrecht in 1632; studied under Rembrandt, whose style he emulated in his earlier pictures; removed to Antwerp in 1665, where he lived until 1678, in which year he returned to Amster- dam, where he died in 1693. These are all the facts so far brought to light concerning his life. The change in the style of his later pictures is so remarkable that it has been suggested that they are by another painter of the same name, a notion that re- ceives some support from the fact that the signatures upon them are ornamented with flourishes which never appeared on his earlier and far better works.

PRINCESS OF ORANGE No. 54

On canvas h. i6]/2 i^'', w. 22^4 in.

Listed in Hofstede de Groot's Catalogue Raisonn6, Vol. VI, No. 468, p. 581

(London, J 91 6).

Lent by The Ehrich Galleries

GERMAN SCHOOL [LATE XV CENTURY] See Introduction

triptych: DESCENT FROM THE CROSS WITH

PORTRAITS OF DONORS ACCOMPANIED

BY SAINTS ON SHUTTERS No. 55

On wood: Center Panel h. 27 J^ in.\ w. 18 Ji in. Left Panel h. 273^

in.', w. 7 J^ in. Right Panels. 2j}4 i^-l w. 7^ in.

Lent by The Ehrich Galleries

GERMAN PAINTING 1']

CRANACH [1472-1553] GERMAN (SCHOOL OF SAXONY)

LUCAS CRANACH, THE ELDER: Born October 4, 1472, in Kronach in Upper Franconia; pupil of his father; established his residence at Wittenberg, where he became a friend and intimate of Luther and Court Painter to three Saxon Electors, and accompanied John Frederick the Magnanimous in his captivity during his imprisonment at Innsbruck after the latter's defeat at the Battle of Miihlberg; he died in Weimar October 16, 1553.

PORTRAIT OF SIBILLE OF CLEVES No. 56

On wood H. 23 J4 in.\ w. 16 in.

The subject of the foregoing portrait was the wife of John Frederick of Saxony, Cranach's devoted friend and patron. Reproduced in: "Paintings of the Middle Ages," by Solomon Reinach, Vol. II, p. 377. Collections of: Buchner; Alexis Schoenbank of Cologne; Dr. MuUer, Paris; and Countess de Casa Miranda, from whom it was acquired.

Lent by The DeMotte Galleries

BALDUNG [ATTRIBUTED TO: i48o?-i545] GERMAN (SCHOOL OF SUABIA)

HANS BALDUNG, Called Grien or Griin, probably from his fondness for green, was born at Weyerstein near Strassburg about 1480; nothing is known of his youth save that he settled at Strassburg in 1509 and two years later went to Freiburg-in-the-Breisgau, where he was occupied with important commissions until 1517; his first known painting, dated 1501, is a portrait of Emperor Maximilian; under the direction of Diirer he executed the copies of the latter's Adam and Eve, now in the Pitti Palace at Florence, and probably assisted him in other works as well, and thus cer- tain of his unsigned portraits have come to be attributed to Diirer; he was an engraver on copper as well as on wood, execut- ing over one hundred designs; he painted religious, mythological and allegorical subjects as well as portraits; he died in Strassburg in 1545.

28 GERMAN PAINTING

CLEOPATRA No. 57

On wood H. 32% ;■«.; w. 27 1^ /«. Z,<?«/ by The DeMotte Galleries

AMBERGER [ 1490?- 1562?] GERMAN SCHOOL (AUGSBURG)

CHRiSTOPH AMBERGER, painter and designer for wood cuts: Born about 1490-1500, either in Nuremberg, Ulm, or Amberg, each of which places is given as his birthplace by various authorities. According to Doppelmayer, he was the pupil of Hans Holbein, the Elder, while other writers assert that he was the disciple of his father, Leonhard Amberger, though his art appears to be influenced strongly by the work of Hans Burgkmair and by that of certain Venetians; however, the predominant influence upon his art undoubtedly came from the work of Hans Holbein, the Younger, to whom are attributed several of Amberger's portraits, such as the well-known Portrait of Emperor Charles V, painted in 1532, now reposing in the Institute of Fine Arts at Siena.

PORTRAIT OF CONRAD ZELLER No. 58

On woodu. 2S}4 in-; w. 21^ in. Lent by The Ehrich Galleries

BRUYN [1493-1557?] GERMAN (COLOGNE SCHOOL)

BARTHOLOMAUS, generally known as Barthel Bruyn or Bruin, ^ • _ Brun, Bruen and Breun, is supposed to have been born either at

(r ^^S?^ ir Cologne or Wesel in 1493; his earliest work, done in Cologne, j^ ^ reflects Netherlandish influence, while the influence of Italy is ■O X discernible in his later works, and his portraits show his admira-

^ y> tion for the work of Joos van Cleve; certain of his earlier paint-

ings resemble those of the Master of the Death of the Virgin, whose pupil he is said to have been.

MARTYRDOM OF THE SEVEN MACCABEES No. 59 On wood H. 19^ /«.; w. 14^ in. Lent by The Ehrich Galleries

y

GERMAN PAINTING Ig

MASTER OF ST. SEVERIN [FLOURISHED: LATE XV AND EARLY XVI CENTURIES] (COLOGNE SCHOOL)

This Master was associated with the Master of the Holy Kin- ship, who was active about the same time, and also with Dutch painters of this age, more especially with Cornelius Engel- brechtsen and occasionally with Hieronymus Bosch. Certain of his types recall an earlier Master of Haarlem, Geertgen van S. Jans. He had a great number of followers and imitators. Many of his works are found at Cologne and he is met with also at Augsburg, Hamburg, Munich, Werwer near Paderhorn and else- where. Glass paintings from his designs, formerly in the Cister- cian Abbey of Altenberg are now divided between Cologne, Gondorf-on-the-Moselle, Berlin, Leipzig and Bonn.

MADONNA, CHILD AND ANGELS No. 6o

On wood a. ii in.; w. lo in. Lent by The Ehrich Galleries

MASTER OF LYVERSBERG ALTAR [ACTIVE: EARLY XVI CENTURY] GERMAN

GEERT VON LON, Called the Master of Liesborn, or more com- monly the Master of Lyversberg Altar or the Lyversberg Pas- sion, from the name of the original owner (a town councillor of Cologne) of the painter's chief work, an altarpiece of the second convent church in Liesborn, near Munster, which was sold in 1807 and separated into several pieces, most important of which is in the Museum in Cologne, while six others are in the National Gallery and the remainder have been lost. He was born in Geseke, near Paderhorn, Westphalia, some time before 1500; the date of his death is unknown.

THE ENTOMBMENT OF CHRIST No. 61

On wood H. 30 ;«.; w. 11% in. Lent by The Kleinberger Galleries

/.

works are to be found as well as in Munich; very little is known about him, but it is thought that he came from the Netherlands or from the Lower Rhine; his works show a certain affinity with the School of Antwerp.

\^ !// MASTER OF FRANKFORT [ACTIVE: " ' J*^ Vf^J^ EARLY XVI CENTURY] GERMAN (SCHOOL

^ fiAJUf/^"^ FRANKFORT)

^ / / This Master, who was wrongly identified with Conrad Fyol,

J. ' '"^ worked at Frankfort-on-the-Main and Cologne, where his chief

THE ANNUNCIATION No. 62

On canvas, transferred from wood h. 36 ;'«.; w. 24^ in. » Lent by The DeMotte Galleries

CRANACH [1515-1586] GERMAN SCHOOL

(SAXONY)

LUCAS CRANACH (or kranach) THE YOUNGER: According to tra- dition, the family name of the Cranachs was originally Miiller, *■ ' - but the Elector of Saxony gave Lucas the Elder the surname

;_^ ^*-vd^ Cranach from his native town, Kronach, in the Bishopric of / ^ Bamberg in Franconia. Painter and designer for wood cuts: Born v A-^'-'LI** ^^ Wittenberg, October 4, 151 5; he died in Weimar January 5, ,_^ 1586, and was buried in Wittenberg, He received his art educa-

.,/<_^ r*-**-^ tion in his father's workshop, where he imbibed a love of clear and precise characterization strongly resembling that of Hans Hol- bein. Though weaker in drawing and less forceful in coloring, his work is often mistaken for that of his father. He was an ardent partisan of the Reformation, as is clearly indicated in one of his works in the principal church at Wittenberg representing the vineyard of the Lord, "One half of which is being destroyed by the clergy of the Roman Church, whilst the heroes of the Refor- mation are employed in cultivating the other."

PORTRAIT OF A LADY No. d^,

On wood H. 25 ;■«.; w. i6j^ in. Lent by The Ehrich Galleries

^f ^

1

rA^

SPANISH PAINTING 3I

GERMAN SCHOOL [LATE XVI CENTURY]

See Introduction

VIRGIN SURROUNDED BY ANGELS

WITH PORTRAITS OF DONORS No. 64

On wood H. 383^ in.; w. 23 J^ in.

This extremely interesting panel with its naive peasant-like sincerity of concep- tion and execution recalls certain altarpieces found in small wayside churches throughout Tyrol. It is an authentic expression of the folk-art out of which grew the art of the great German masters.

Lent by The Ehrich Galleries

DE BURGOS [ACTIVE: MIDDLE XV CENTURY] SPANISH SCHOOL JUAN DE BURGOS: An excellent but little-known Spanish painter who worked probably in the second quarter of the XV Century. Very few pictures by him have so far been identified, among these being The Annunciation, a painting in tempera on wood, representing the Virgin in one panel and Gabriel in the other, in the Fogg Museum, Cambridge, Mass., and the half-length figure of Saint Blaise , attributed to him under No. 13 in the Catalogue of Ancient Paintings sold by the Kleinberger Galleries in January of 191 8.

ST. AUGUSTINE No. 65

On wood H. 25% in.; w. 20 in. Lent by The Ehrich Galleries

VERGOS [ACTIVE: MIDDLE OF XV CENTURY] SPANISH (CATALONIAN SCHOOL)

PABLO VERGOS : A distinguished member of the extremely talented Vergos family, who gave to Spain several of the most interesting artists in the XV Century, and to whom are credited some very fine altarpieces and a few votive pictures, many of which are to be found in Barcelona; the works of all this family are charac- terized by a certain archaic quality combined with a rather sensuous feeling for color.

32 SPANISH PAINTING

MADONNA AND CHILD, SURROUNDED

BY SAINTS AND ANGELS No. 66

On wood H. 73^ /«.; w. 523^ in. y^ *>

An excellent example of this rarely seen master's work. ^•"^ 9\^

Lent by The DeMotte Galleries /^ ^«iiS^ « V^x^Wx-^

MORALES [1509-1586] SPANISH SCHOOL

LUIS DE MORALES, Called El Divino: Born about 1509 in Badajoz in Estremadura, where he spent the first years of his life in obscurity, painting mournfully dramatic religious paintings in- spired by genuine religious feeling; his style is a mixture of Flemish and Italian influences then much in vogue in Spain. The reasons for calling him El Divino are hardly to be found in his works, which reveal a rather restricted artistic horizon.

MADONNA AND CHILD No. 67

On wood H. 23 in.; w. 16 in. Lent by The Ehrich Galleries

COELLO [i5i3?-i59o] SPANISH SCHOOL (VALENCIA) ALONzo SANCHEZ COELLO: Bom at Benyfayro in Valencia in 1513 or 1515. His work suggests that he may have studied in Italy or at least come strongly under the influence of the Florentines, whom he resembles in design, while his color more nearly resem- bles that of the Venetians. During his residence in Madrid he came directly under the influence of Antonio Mor (Moro), whom he succeeded in royal favor when the latter was forced to flee from Spain.

PORTRAIT OF SENORA DE MENDOZA No. 68

On canvas h. 44 J^ ;'«.; w. 32 in.

The subject of this very characteristic example of Coello's art was the wife of Bernardini de Mendoza.

Lent by The Ehrich Galleries

:MAES: PRINCESS OF ORANGE

No. <;4

CRANACH, THK EI.UER: PURlRAll Ul SIBILLE OF CLEVES No. si

■^ i^ei^-f^yJLi^^ I,.

SPANISH PAINTING

33

EL GRECO [i5oo?-i6i4] SPANISH SCHOOL

DOMiNico THEOTOcopuLi: By general custom, begun in his day, called El Greco, meaning the Greek, from the fact of his birth on the island of Crete, one knows not in what year, though the fact of his death is specifically recorded in the "Book of Burials" in Santo Tomas "as occurring on the 7th of April, 1614." He is supposed to have studied with Titian and come very strongly under the influence of the Venetians, particularly Tintoretto, whose general style and color, with certain modifications and exaggerations, is reflected in his earlier works. He is one of the most original and personal artists in the whole history of Euro- pean painting.

ST. JOHN No. 69

On wood H. 41 % in.; w. 20 5^ in. Lent by The Ehrich Galleries

THE HOLY VIRGIN No. 70

On wood H. 41 ^/i in.; w. 20% in. Lent by The Ehrich Galleries

ST. FRANCIS

On canvas h. 18 in.; w. 15^^ in.

From the collection of Don Pablo Bosch, Madrid

Lent by The Ehrich Galleries

No. 71

No. 72

ST. CATHERINE

On canvas h. 223^ in.; w. 19 in.

Signed in full in Greek

Exhibited: "National Loan Exhibition," London, Grosvenor Gallery, 1913-14,

No. 34. Greco-Goya Exhibition, M. Knoedler & Co., New York, 191 5, No. 8.

Collections: Jose M. Mivez del Prado. Ricardo de Madrazo, Madrid.

Lent by The Knoedler Galleries

JESUS IN THE HOUSE OF SIMON No. 73

On canvas h. 563^ in.; w. 39 J^ in.

Last epoch of El Greco: 1604-16 14. This picture is supposed to be one of the five pieces comprising the large altarpiece in the Church of Titulcia of Bayone in the province of Madrid, where there are only four left. It represents the repast in the house of Simon where Magdalene is seen anointing the head of Christ. It was formerly in Bilbao, owned by the artist Guinea, and afterwards by Mr.

^'l^^<i.><-»-'

,^*-VH'-»Mv-/«>."~

//

-/^

c.

* /^'^VJMC^^o^

34 SPANISH PAINTING

Plasencia. There is another similar picture owned in London by Sir Edgar Vincent, but there is nothing on the table and it is an entirely closed room. In Cossio's book, No. 325, p. 602. Formerly in the Prince of Wagram's Collection.

Lent by Durand-Ruel Galleries

^ THE ANNUNCIATION No. 74

On canvas h. 50^ in.', w. 23 i^-

Second Epoch: 1 594-1 604. In Cossio's book, No. 301, p. 599. Mentioned in Barres and Lafond's book on p. 14a. From the Marquis de Cervara Collection.

Lent by Durand-Ruel Galleries

ST. FRANCIS OF ASSISI No. 75

On canvas h. 263^ in.; w. 21 34 in.

Signed in full in Greek

Second Epoch: 1594 -1604. In Cossio's book. No. 297. Reproduced in Barres

and Lafond's book, p. 68. From the Cherfils Collection, Paris.

i%.ys.^<^. Lent by Durand-Ruel Galleries

ZURBARAN [1598-1662] SPANISH (SCHOOL OF SEVILLA)

FRANCISCO DE ZURBARAN: Baptized on November 7, 1598, in Fuente de Cantos in Estremadura; son of a peasant landowner; studied with Juan de Roelas, painted constantly from nature and admired Caravaggio; acquired a considerable reputation ^V^ before his twenty-first year; painted various altarpieces and

other important commissions in Seville as well as many por- traits, especially of the white-robed Carthusian monks, a favor- ite subject with him; was one of the favorite Court Painters of Philip IV; died in Madrid about 1662.

ST. LUCY No. 76

On canvas h. 723^ in.\ w. 44 in.

^tC,' Illustrated in color in "Arts and Decorations," March, 1916; article by Dr.

August L. Mayer.

Lent by The Ehrich Galleries

S>iei»4'

mberger: portrait of conrad zeller

No. 58

bruyn: martyrdom of the seven maccabees

SPANISH PAINTING ^5

PORTRAIT OF MIGUEL DEL POZO No. JJ

On canvas h. 40 J^ in.; w. 3334 '«•

Signed FO. zurbaran. Dated 1630, and inscribed el be pe. po.

S. MIGUEL DEL POZO.

Illustrated in "Arts and Decorations," for March, 1916; article by Dr. August

L. Mayer.

Lent by The Ehrich Galleries

DE MIRANDA [1614-1685] SPANISH SCHOOL

JUAN CARRENO DE MIRANDA: Born at Aviles; studied with Pedro de Las Cuevas and Bartolome Roman and was strongly influ- enced by his great contemporary, Velasquez; attached to the Court of Philip IV and later of Charles II, both of whom he painted several times; was a mural painter as well as a portrait painter of distinction and executed several etchings; died in Madrid, 1685.

SELF PORTRAIT No. 78

On canvas h. 79 in.; w. 43 H ^"«-

Signed with monogram in the lower right

Collection of the late Count NelidofF, Russian Ambassador to France.

Lent by The Kleinberger Galleries

GOYA [1746-1828] SPANISH SCHOOL

FRANCISCO JOSE DE GOYA Y LuciENTES: Painter, etcher and lithographer. Born at Fuente de Todos in Aragon, March 30, 1746; son of humble peasants; studied with Jose Lujan Martinez; traveled and studied in Italy. Bullfighter, brawler, artist, revolu- tionist, lover and court painter but never courtier, Goya summed up in his person the eager, restless and rebellious spirit of the time as perhaps none other in the art or literature of Spain.

PORTRAIT OF ADMIRAL MAZARREDO No. 79

On canvas h. 11 in.; Vf. i'] in.

From the collection of De Beruete, Senior, of Madrid (the eminent authority on Spanish Art).

Lent by The Ehrich Galleries

36 FRENCH PAINTING

DON RAMON DE POSADA Y SOTO No. 80

On canvas h. 2S ^"-J w. 26 J^ in. Signed goya

He was First President of the Court of Justice at Cadiz, Spain. Exhibited: Greco-Goya Exhibition, M. Knoedler & Co., New York, 191 5, No. 23. Repro- duced in "Goya" by Calvert, plate III; and catalogued there on p. 139, No. 217a. Catalogued: "Goya" by Lafond, p. 136, No. 191; by Loga, p. 202, No. 310; by Stokes, p. 334, No. 158; by Beruete, p. 174, No. 125. Collection: Don Jos6 Maria Perez Caballero.

Lent by The Knoedler Galleries

PORTRAIT OF ASENSIO JULIA (1800) No. 81

On canvas h. 21 J^ in.\ w. 163^ in. Signed goya a su amigo asensi

Catalogued: No. 146 in Lafond's book. No. 263 in Loga's book.

Lent by Durand-Ruel Galleries

LENAIN,THE BROTHERS [FLOURISHED: EARLY XVII CENTURY] FRENCH SCHOOL

ANTOiNEj LOUIS and MATHiEU, three brothers: Born at Laon in 1588, 1593 and 1607, respectively. After learning the elements of painting they went to Paris, where Antoine was received as a painter in 1629; the three brothers worked a long time together in Paris, becoming members of the Academy in 1648, in which year both Antoine and Louis died; Mathieu painted historical subjects for churches as well as genre pieces and portraits, among which were those of Cardinal Mazarin and Anne of Austria; he died in Paris in 1677.

A FAMILY OF THE BOURGEOISIE No. 82

On canvas h. 23 J^ ;«.; w. 30 J^ in. Signed le nain. Dated 1643 Lent by The DeMotte Galleries

AN ARISTOCRATIC FAMILY No. 83

On canvas h. 34 /«.; w. 45 in. Lent by The DeMotte Galleries

FRENCH PAINTING 37

THE PROLETARIAT No. 84

On canvas h. 363^ in.; w. 49 in.

Dated AS o 1633

Lent by The DeMotte Galleries

JjJ

RIGAUD [1659-1743] FRENCH SCHOOL ^^^' f- f"^''^

HYACINTHE FRAN5OIS HONORAT MATHIAS PIERRE-LA-MARTYR

ANDRE JEAN RIGAUD-Y-Ros, Called Rigaud: Born at Perpignan, July 20, 1659; studied with Pezet, Verdier and Ranc; was con- siderably influenced by the work of Van Dyck, whose disciple he professed to be; beginning as a painter of the bourgeoisie, he finished as the favorite painter of kings and princes. He died in Paris in 1743.

PORTRAIT OF A NOBLEMAN No. 85

On canvas h. 53 /«.; w. 40 in. Lent by The Ehrich Galleries

■>A^ r<J^

O/

WATTEAU [1684-1721] FRENCH SCHOOL - '^ >^

JEAN ANTOiNE WATTEAU, son of a plumber: Born at Valenciennes, '^\ October 10, 1684; from his childhood up he was of an extremely

delicate constitution; apprenticed to M. J. A. Gerin and worked '^^

for a time in a decorative shop painting little figurines; later studied with Gillot, a fashionable painter of decorative panels,

from whom he learnt much; he was a great student of the Italian JLa-X-o- —

old masters, especially Correggio, Giorgione, Titian and Vero- nese, from which he evolved a style very personal and essentially French, characterized by a sparkling vivacity of color and drawing that may be said to have created a new epoch in French art. He died at Nogent-sur-Marne near Paris July 18, 1721.

THE TRIUMPH OF COLOMBINE No. 86

On canvas h. io}4: in.; w. 24 J^ in.

Collection: Comtesse de Gartembe, Paris. Exhibited: "Bagatelle," 1912.

Lent by Messrs. Gimpel and Wildenstein Galleries

38 FRENCH PAINTING

TOCQUE [1696-1772] FRENCH SCHOOL LOUIS TOCQUE or TOCQUET: Bom in Paris, 1696; studied with Nicolas Bertin and later with Hyacinthe Rigaud; elected mem- ber of the Paris Academy in 1734; invited by the Empress Eliza- beth to the Russian Court, where he painted her portrait as well as portraits of various members of her entourage; he also visited Copenhagen, painting the Danish royalties; died in Paris Febru- ary 10, 1772,

PORTRAIT OF COMTE DE BERLAIMONT No. 87

On canvas h. 31 /«.; w. 25 in. Lent by The Ehrich Galleries

CHARDIN [1699-1779] FRENCH SCHOOL

JEAN BAPTiSTE SIMEON CHARDIN, son of a master carpenter: Born in Paris, November 2, 1699; studied under Pierre-Jacques Cazes; later with Noel-Nicolas Coypel, achieving an early reputation as a still-life painter; made a member of the Academic Royale, September 25, 1728; uninfluenced by current practice in France, he practiced a frank realism, somewhat refined and sublimated; the early part of his career was devoted to still-life painting, to which he gave a new significance; only after 1737 did he begin his delightful genre and portrait painting; he died December 6, 1779.

THE CARD BUILDER No. 88

On canvas h. 28 J^ in.; w. 35 M in. Signed chardin

Collection: Architecte Trouard, 1779, No. 44. Jacques Doucet, June, 191 2, No. 135. Engraved by Filloeul. Reproduced in Lady Dilke "French Painters," p. 128; Revue de I'Art T. VI, p. 380; L. de Fourcaud "Chardin," p. 6; Cata- logued Doucet, and in De Goncourt; in "L'Art au XVIII Si^cle," T. I, p. 120; in Boucher "Chardin," pp. 22, 23, and J. Guiffrey, No. 114. Exhibited at Salon, 1737(?). Cited in "Gazette des Beaux-Arts" article by Lady Dilke, 1899, T. II, p. 181; in Lady Dilke "French Painters," pp. 114-116; in Revue de I'Art, article by Fourcaud, 1899, T. II, pp. 406-412; in L. de Fourcaud "Chardin," pp. 30,31; in Ch. Normand "Chardin," pp. 50, 66.

Lent by Messrs. Gimpel and Wildenstein Galleries

MASTER OF LYVERSBERG altar: ENTOMhM i^.N I OF CHRIST N0.61

CRANACH,THE YOUNGER: PORTRAIT OF A LADY No. 63

FRENCH PAINTING 39

LAGRENEE, L. [ACTIVE: MIDDLE XVIII CENTURY] FRENCH SCHOOL

THE MUSE OF PAINTING AND

SCULPTURE No. 89

On canvas h. 30^^ /'«.; w. i^^i in.

Signed l. lagrenee, and dated 1768

Lent by The DeMotte Galleries

BOUCHER [1703-1770] FRENCH SCHOOL

FRANCOIS BOUCHER: Bom in Paris, 1703; studied with Frangois Le Moine; accompanied Carle van Loo to Rome in 1727, return- ing to Paris in 1731 completely unaffected by the works of the great old masters he had seen there; appointed Director of the Gobelins in 1755, and, upon the death of Carle van Loo, suc- ceeded him as Court Painter; he was a protege of Madame de Pompadour, of whom he painted several portraits. His facile, agreeable style is a typical reflection of the frivolous life of the French capital under Louis XV; he died in the Louvre on May 30, 1770.

DIANE ET ENDYMION No. 9O

On canvas h. 37 K ^«-; w. 54 in.

Endymion, in Greek legend, a shepherd of remarkable beauty, who retired every night to A grotto of Mount Latmus in Caria. As he slept the Goddess of the Moon, Selene (identical with Diana), became enamored of him, and leaving her chariot came down to him. The eclipses of the moon were attributed to these visits. Exhibited: "L'Art du XVIII Siecle," Paris, Galerie Georges Petit, December, 1 883-January, 1884, No. 7, by Sir Richard Wallace. Catalogued: "F. Boucher," by A. Michel, Paris, 1906, p. 10, No. 124. Collection: Sir Richard Wallace, Bart.

Lent by The Knoedler Galleries

VAN LOO [1707-1771] FRENCH SCHOOL LOUIS MICHEL VAN LOO or VANLOO: Born in Toulon in 1707; pupil of his father, Jean Baptiste van Loo; traveled and studied in Italy; made a member of the Academy and appointed Court Painter to Philip V of Spain; director of The Royal School of Arts for the Nobility; died in Paris in 1771.

40 FRENCH PAINTING

PORTRAIT OF A CARDINAL No. 9]

On canvas h. 54 J^ in.; w. 41 % in. Lent by The Ehrich Galleries

VERNET [1714-1789] FRENCH SCHOOL

CLAUDE JOSEPH VERNET, painter and etcher: Born at Avignon August 14, 1714; pupil of his father, Antoine Vernet, and late: studied with the marine painter, Bernardo Fergioni,. and for ; while with Adrien Manglard, Pannini and Solimena. In his earh works he affects the manner of Salvator Rosa, and he executec several decorations for the Farnese Gallery and the Ronda Min Palace in this style; admitted to the Academy in 1753; paintec a series of twenty pictures of French seaports for Louis XV.

LES CASCADES DE TIVOLI No. ^'l

On canvas h. 41 in.; w. 31 K in.

Painted in 1748 for M. Anger de Grasse.

Lent by The Ehrich Galleries

GREUZE [1725-1805] FRENCH SCHOOL

JEAN BAPTiSTE GREUZE: Born at Tournus, near Magon, in Bur gundy, August 21, 1725; studied in the Paris Academy; his firs picture, A Father Explaining the Bible to His Children^ achievec so great a success that its true authorship was for some tim( doubted; in 1755 his painting L'Aveugle trompe procured hi; acceptance by the Academy; made a short sojourn in Italy am upon his return continued to exhibit at the Academy. He was • painter of the bourgeoisie /)ar excellence and his middle-life genn attained a great vogue in his day. His last years were filled wit! trouble; he died in poverty in Paris, March 21, 1805.

THE RETURN FROM THE INN No. 9j

On canvas h. 28 J^ in.; w, 355^ in.

Collection: Baron James de Rothschild; Lyne Stephens, London; Paillet anc Comte d'Arjuzan, 1852; Laneuville and Laterrade, 1858. Sale: Marquis d< Verri, 1775, No. 22; Grimed de la Reynierre, 1792, No. 27; Huard, 1836, No 425, and Pillot, 1858, No. 48; Duval, London, 1846, No. 109. Exhibited in i860 Boulevard des Italiens. Described in "Gazette des Beaux-Arts," i860, T. Ill

VERGOS: MADONNA AND CHI I,D, S U R RO U N D E D BY SAINTS AND ANGELS

No. 66

COELLO: PORTRAIT OF SENORA DE MENDOZA

No. 6

FRENCH PAINTING 4I

Reproduced in Lyne Stephens' Catalogue. Mentioned and catalogued in J. B. Martin, No. 185. A copy of this picture, by Mile. Ledoux, Greuze's pupil, is at the Lille Museum, and a drawing of the woman and man, in red chalk, is in the Louvre.

Lent by Messrs. Gimpel and Wildenstein Galleries

DUPLESSIS [1725-1802] FRENCH SCHOOL

JOSEPH sifrede: Born at Carpentras near Avignon in 1725; at first destined for the priesthood, became the pupil of his father and later of Frere Imbert; visited Rome in 1745, studied there under Subleyras; upon his return established himself in Paris; received into the Academy in 1774; losing his fortune in the Revolution, he accepted the post of Conservator of the Museum of Versailles, where he died in 1 802. He attained a high reputa- tion with his portraits, among which are those of Gluck (in the Vienna Gallery), Franklin and other notables.

PORTRAIT OF MARQUIS DE CHILLON No. 94

On canvas h. 56^^ in.\ w. 443^ in.

Collection of: Comte d'Arjuzan.

Lent by Messrs. Gimpel and Wildenstein Galleries

PERRONNEAU [1731-1783?] FRENCH SCHOOL

JEAN BAPTiSTE PERRONNEAU: Bom in 1731; pupil of L. Cars; he was chiefly an engraver, engraving many plates after pictures by Boucher, Van Loo and others, while also painting portraits both in England and in France. According to Siret, he died in Amsterdam in 1783.

PORTRAIT OF MR. DARCY No. 95

On canvas h. 28 K in.\ w. ii'^/i in.

Exhibited at the Paris Salon of 1769.

Lent by The DeMotte Galleries

42 FRENCH PAINTING

ROBERT [1733-1808] FRENCH SCHOOL HUBERT ROBERT, frequently called Robert des Ruines, painter and engraver: Born in Paris, 1733; died there in 1808; spent several years in Italy studying and making accurate drawings of the remains of ancient architecture; was imprisoned during the French Revolution and escaped the guillotine through a mistake of his jailer.

RUINS NEAR ROME No. 96

On canvas h, 50 ;'«.; w. 40 in. Lent by The Ehrich Galleries

VESTIER [1740-1824] FRENCH SCHOOL

ANTOiNE VESTIER, portrait painter: Born at Avallon (Yonne) in 1740; became an Academician in 1786; traveled several years in England and Holland, settling in Paris upon his return in 1764; married the daughter of Reverand, the enameler, who appears to have influenced him to execute a few enamels while continuing to practice his profession of portrait painting. He died in Paris, December 24, 1824.

PORTRAIT OF THE ARTISt's DAUGHTER No. 97 On canvas h. ai % in.; w. 18 in.

From the Magnan Collection of Nancy.

Lent by The Ehrich Galleries

DAVID [1748-1825] FRENCH SCHOOL JACQUES LOUIS DAVID: Born in Paris August 30, 1748; worked in the studio of Vien, a leader of the Neo-classicists; entered the Academy in 1766; won the Prix de Rome in 1774; remaining in Italy until 1780; by 1789 he had become the most famous and influential painter in France, and during the Revolution was elected President of the Convention with practically unlimited power of life and death, which he used to destroy his old enemies, whom he had indicted as aristocrats — which, however, did not prevent him from later paying assiduous court to Napoleon, who made him a Chevalier and finally a Commander of the Legion of

EL GRECO: JESUS IN THE HOUSE OF SIMON

No. 73

zurbaran: portrait of miguel del pozo No. 77 1

FRENCH PAINTING 43

Honor; after Waterloo he withdrew to Brussels, where he died on December 29, 1825.

PORTRAIT OF MADAME DE SERVAN No. 98

On canvas h, 56 J^ in.; w. 44 in.

Collection of: Herdebault Harris, descendant of De Servan. Exhibited: Leipsic, 1910, No. 294; Exhibition of French Art; Exhibition Universale, Rome, 191 1.

Lent by Messrs. Gimpel and Wildenstein Galleries

PORTRAIT OF MADAME PECOUL No. 99

On canvas h. "^^l/i in.; w. 28 in. Lent by The DeMotte Galleries

PORTRAIT OF M. PECOUL No. lOO

On canvas h. 2,(> in.; w. 28 in.

These two very characteristic paintings by David are portraits of his father-in- law and mother-in-law, painted for his brother-in-law, M. Serizia, from whom they were secured; he painted the same subjects twice, the other pair being in the Louvre, in the Salon Carr^.

Lent by The DeMotte Galleries

mythological subject

(chalk drawing) No. ioi

On paper h. 26 in.; w. 22 in.

Lent by The DeMotte Galleries

mythological subject

(chalk drawing) No. 102

On paper h. 26 in.; w. 22 in.

Lent by The DeMotte Galleries

LE BRUN [1755-1842] FRENCH SCHOOL

MARIE LOUISE ELIZABETH LE BRUN, whose maiden name was Vigee, hence known as Mme. Vigee Le Brun: Born in Paris in 1755; studied with Davesne and Briard and was advised by- Joseph Vernet; painted her mother's portrait at the age of fifteen and the first portrait of Marie Antoinette in 1779, after which she painted not less than twenty-five portraits of her. She painted most of the notable people of her time. Died in Paris in 1842.

^

L^

44 FRENCH PAINTING

' CHILD OF THE LABADYE FAMILY No. IO3

On canvas h. 25^ in.; w. 21 in. Collection 0/ Comtesse de Labadye

PORTRAIT OF COUNTESS KINSKI No. IO4

On canvas h, 28 J^ in.\ w. 23 /«.

Wife of the Austrian Ambassador at the Court of Louis XVI. She occupied one of the most prominent positions among the women of her day. Described in W. H. Helm's book on Mme. Le Brun, Edition de Luxe, London.

Lent by The Ehrich Galleries

LA COMTESSE DE PROVENCE No. I05

On canvas h. 30^ in.', w. 24^ in. Signed l, le brun, f. Dated 1782

Inscribed on the back: "Original de Mme. Le Brun donne par le roi Louis XVIII en 1 81 5 a M. le Marquis de Crux ancien ecuyer commandant I'ecurie de la Heine Mdme. la Duchesse de Provence." Reproduced: In W. H. Helm, p. 48a. Mentioned: In W. H. Helm, p. 43. Catalogued: In W. H. Helm. Sale: 1783. Paris Exhibition of "Marie Antoinette and Her Time," Galerie Sedel- meyer, 1894. Collection: Comte A. de la Rochefoucauld.

Lent by Messrs. Gimpel and Wildenstein Galleries

DUVIVIER [FLOURISHED: BETWEEN

1786 AND 1824] FRENCH SCHOOL MLLE. AiMEE DUVIVIER, XVIII Century French portrait painter; flourished between 1786 and 1824. She attained a considerable vogue in her day, painting portraits of various notables, of which the one shown here is a characteristic example. She participated in the exhibitions of younger painters, 1786-87. After her death an exhibition of her works was held in the Louvre, 1791-1824.

PORTRAIT OF THE

MARQUIS d'aCQUEVILLE No. I06

On canvas h. 48 in.\ w. 36 in.

Signed Aiui.^ du vivier. Dated 1791

Illustrated with article in the Burlington Magazine, Vol. XXIV, page 307; also in article on Duvivier in Vol. XXV, p. 61. Illustrated in Les Arts, 1909, No. 96, p. 21. Collection of: Marquise douairi^re de Ganay n6e Ridgway, grand- daughter of the Marquis.

Lent by The Ehrich Galleries

BRITISH PAINTING 45

WILSON [1714-1782] ENGLISH SCHOOL

RICHARD WILSON, R. A.: Born at Pinegas, Montgomeryshire; studied with Thomas Wright, an obscure portrait painter; his first paintings were portraits, his talents for landscape being dis- covered by Zuccarelli and Vernet during his visit to Italy; was one of the thirty-six founders of the Academy in 1768; the figures in his landscapes are most often painted by J. Hamilton Mortimer and Francis Hayman.

CICERO AND HIS TWO FRIENDS, ATTICUS

AND Q.UINTUS, AT HIS VILLA AT

ARPINUM No. 107

On canvas h. 34 ;'«.; w. 42 in.

Exhibited at The Royal Academy in 1770 (No. 201).

Lent by The Ehrich Galleries

REYNOLDS [1723-1792] ENGLISH SCHOOL

SIR JOSHUA REYNOLDS, P. R. A.: Born July 16, 1723, at Plympton Earl, Plymouth; was unusually precocious, making drawings at the age of seven, and at the age of seventeen was placed under Thomas Upton, a well-known portrait painter; spent three years in Italy studying the old masters (1749-52) after which he settled in London, where he became the most highly esteemed portrait painter of his day; elected first President of the Royal Academy 1768, and knighted by George III; buried in St. Paul's Cathedral on March 3, 1792, nine days after his death.

PORTRAIT OF WHITE, THE PAVIOR No. I08

On canvas h, 30^ ;'«.; w. 25}^ in. Lent by The Ehrich Galleries

CARICATURE OF JOHNSON, TOTTEN BEAUCLERK, BENNETT LANGTON AND REYNOLDS HIMSELF No. IO9

On canvas h. 25 in.\ w. 30 in.

Painted in Rome, 1753.

Lent by The Ehrich Galleries

46 BRITISH PAINTING

SELF PORTRAIT No. IIO

On canvas h. 23 J^ in.; w. 19 in. Lent by The Ehrich Galleries

SELF PORTRAIT No. Ill

On canvas h. 29 J^ in.; w. 24 in.

Listed in "History of the Works of Sir Joshua Reynolds," by Algernon Graves and William Vine Cronin, Vol. II, p. 809 (London, 1899). Exhibited in The Royal Academy in 1790. Collection of: R. G. Gwatkin of The Manor House, Potterne, Devizes.

Lent by The Ehrich Galleries

COTES [1726-1770] ENGLISH SCHOOL FRANCIS coTES:Born in London ini726;died there in the prime of life on July 20, 1770. He was one of the most distinguished por- trait painters of his time, his work being preferred by Hogarth to that of Reynolds, and Walpole speaks admiringly of him in his "Anecdotes of Painting." He was the pupil of George Knapton, a local celebrity. Cotes was one of the original thirty-six members founding the Royal Academy in 1768, and one of its most fre- quent and prolific exhibitors.

PORTRAIT OF

MR. AND MRS. JOAH BATES No. 112

On canvas h. 52 in.; w. 60 in.

Mr. Bates conducted the first Handel Festival held in Westminster Abbey in the year 1784, centenary of the composer's birth, and his wife, Sarah Harrod, may be regarded as one of the greatest of English vocalists. The painting was formerly the property of the Sacred Harmonic Society and is rightly considered one of Cotes' finest works. Special mention is made of it in Bryan's Dictionary of Painters and Engravers (Revised Edition, London, 1904).

Lent by The Ehrich Galleries

GAINSBOROUGH [1727-1788] ENGLISH

SCHOOL

THOMAS GAINSBOROUGH: Bom at Sudbury, 1727, the youngest

son of John Gainsborough, a clothier. At the age of fifteen

Thomas was apprenticed to a silversmith in London, later

DE MIRANDA: SELF PORTRAIT No. 78

GOYA: PORTRAIT OF DON RAMON DE POSADA Y SOTO

No. 80

BRITISH PAINTING 47

studying drawing with Hubert Gravelot,the engraver, and finally with Francis Hayman in Martin's Lane Academy. After some fifteen years spent in Ipswich and Bath he established himself in London, where he soon became the rival of Reynolds, kings, princes and leaders of the nobility vying with one another for the favor of sitting to him. He was one of the thirty-six original members founding the Royal Academy in 1768. He excelled as a landscape painter as well as a portrait painter.

THE EDGE OF THE COMMON No. I I3

On canvas h. 25 in.\ w. 30 in.

Mentioned in Sir Walter Armstrong's book on Thomas Gainsborough, p. 283 (New York, 1914).

Lent by The Ehrich Galleries

PORTRAIT OF

HON. MRS. WM. DAVENPORT No. II4

On canvas h. 30 /'«.; w. 25 in.

Latter part of half-obliterated inscription in lower left-hand corner

reads wife of hon. william davenport

"This picture is the gem of the Lacock Abbey Collection, and is considered to be the finest known example of Gainsborough's portraiture of this period. It was painted when the artist lived in Bath. It had never been cleaned, varnished or relined, and is therefore in as perfect condition as possible. The treatment of the white satin dress was not surpassed by the artist in any work of this period of his career."

Lent by The Ehrich Galleries

PORTRAIT OF

MRS. COCKBURN OF ROWCHESTER No. II5

On canvas h. 30 /'«.; w. 25 in.

From direct descendants.

Lent by The Ehrich Galleries

CHILDREN IN THE WOODS No. I16

On canvas h. 39)^ in.; w. 49!/^ in. Lent by The DeMotte Galleries

48

BRITISH PAINTING

ROMNEY [1734-1802] ENGLISH SCHOOL GEORGE ROMNEY, portrait and figure painter: Born at Walton-Ie- Furness, Lancashire, on the 15th of December, 1734; appren- ticed to the eccentric portrait painter Christopher Steele, who neglected him; at first painted historical, mythological and land- scape compositions as well as portraits. In 1762 he established himself in London, where he soon became the rival of Reynolds in the esteem of the elite of the town, who thronged his studio. Painted innumerable portraits of Lady Hamilton during the nine years of their friendship.

PORTRAIT OF LADY HAMILTON No. II7

On canvas h. 23 J4 iJ^-', w. 21 in. Lent by The Ehrich Galleries

Lm-^n^

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7

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RAEBURN [1756-1823] SCOTTISH SCHOOL

SIR HENRY RAEBURN, R, A.: Born at StockbHdge, a suburb of Edinburgh, March 4, 1756; apprenticed to an Edinburgh gold- smith and later received some instruction and encouragement from the portrait painter David Martin, and is also said to have worked for a few weeks in the studio of Reynolds; spent two years in Italy studying the old masters; elected an Associate of the Academy in 1812, and made an Academician in 181 5, and knighted in 1822; died in Edinburgh July 8, 1823.

PORTRAIT OF REV. JAMES LINDSAY No. II8

^ On canvas h. 36 /«.; w. 27 J^ in.

Minister of Kirkliston, Linlithgowshire; born 1711, died 1796. Exhibited: By Rev. W. Lindsay Alexander, D. D., in the Raeburn Exhibition, 1876. Listed in "Life and Works of Sir Henry Raeburn," by James Greig, p. 51 (London "Connoisseur," 1911).

Lent by The Ehrich Galleries

PORTRAIT OF

PROFESSOR ANDREW DALZEL No. II9

On canvas h. 49 Ji in.\ w. 39 H ii^-

Painted 1797 or 1798, according to a label on the back of the picture

An eminent scholar, born October 6, 1742, at Kirkliston, Linlithgowshire; edu- cated at Edinburgh University; professor of Greek in the University of Edin-

^D''^0.<t.»m^

T I I ^'^j^

BRITISH PAINTING

49

burgh, 1 779-1 805; principal clerk to the General Assembly of the Church of Scotland, 1789; resigned his professorial chair in 1805, and died December 8, 1806. Engraved by R. C. Bell, as frontispiece to Cosmo I nnes' "Memoirs of Dalzel," the first volume of Dalzel's "History of the University of Edinburgh." There is another portrait of this same person in the Scottish National Portrait Gallery. Collection of: the late Surgeon Major W. F. B. Dalzel, the grandson of Andrew Dalzel.

Lent by The Knoedler Galleries

THE REV. DAVID CAMPBELL

No. 120

On canvas h. 35 H /'«.; w. 27% in. Painted 1792

Exhibited: "Dickens Centenary Exhibition of Old Masters," New York, New Allom Galleries, 191 2, No. 8, by Reginald Grundy, Esq. The catalogue says that ''in an interesting letter, still extant, Mr. Campbell, the son of the clergyman, men- tions that his father, at the time of writing, was sitting for the picture." Inaugural Exhibition, Cleveland Museum of Art, 191 6. Reproduced in "The Connois- seur," April, 1 91 2 (No. 128), p. 222, and mentioned there in an article on the Dickens Centenary Exhibition, on p. 230. Collections: A. W. Montgomery Campbell, Dymock Glos. Reginald Grundy, Esq.

Lent by The Knoedler Galleries

\> ,-» ■> ■> ^«^*i

.»c»«i'Vfc^ rj

JL

CROME [1768-1821] ENGLISH SCHOOL

JOHN CROME, called "Old Crome," to distinguish him from his eldest son, John Bernay Crome, who was also a painter: Born in a small public house in Norwich on December 22, 1768. He was apprenticed for seven years to a coach and sign painter and later received valuable suggestions and encouragement from Sir William Beechey. He was a great admirer of the XVII Century Dutch landscape painters, who influenced his style considerably, and his last words uttered on his deathbed are said to have been, "Hobbema, my dear Hobbema, how I have loved you!" He was the founder of the Norwich Society of Painters in 1803.

LANDSCAPE No. 121

On wood "R. 23 in.\ w. 31 in. Lent by The Ehrich Galleries

50 BRITISH PAINTING

LAWRENCE [1769-1830] ENGLISH SCHOOL

SIR THOMAS LAWRENCE: Bom at BHstol May 4, 1769, son of an English solicitor, who later became an innkeeper. He developed an early talent for art which brought him under the favorable notice of Reynolds, whom he eventually succeeded as Court Painter upon the latter's death. He was a favorite of royalty and of the elite in the social and intellectual world of London. Be- sides being knighted he was made a Chevalier of the Legion of Honor and was the recipient of numerous honors from the fore- most Academies in Europe. He died on January 7, 1830, and was interred with great pomp and ceremony in St. Paul's Cathedral.

PORTRAIT OF LADY FALCON ER-ATLEE No. 122 On canvas h. 30J/8 ^«-; w. 24% in. Lent by The DeMotte Galleries

PORTRAIT OF SIR FALCONER-ATLEE No. I 23

On canvas h. 30 in.; w. 24% in. Lent by The DeMotte Galleries

PORTRAIT OF

GEORGE ROGERS BARRETT No. 1 24

On canvas h. 30 in.; w. 25 in.

From the collection of Lieut.-Colonel Boyd Hamilton of Brandon, Suffolk, England. The subject of the above portrait, George Rogers Barrett, born in 1 78 1, belongs to a family famous in the social and political history of London during the XVIII and early XIX centuries.

Lent by The Ehrich Galleries

TURNER [1775-1851] ENGLISH SCHOOL

JOSEPH MALLORD WILLIAM TURNER, R. A.: Bom April 23, I775,

London, son of a barber; exact facts concerning his boyhood and youth, with whom he studied, etc., are still a subject of con- troversy. It is known that he colored prints for J. R. Smith and backgrounds for architects and copied drawings by Paul Candby, and it is said he also made copies in Reynolds' studio; he ex- hibited at the Royal Academy a watercolor as early as 1790, at the age of fifteen, and by 1793-94 was launched actively on his

n^

(HARDIN: THE CARD BUILDER

No. 88

BRITISH PAINTING 5I

career, his earliest work being almost entirely in watercolor; in 1799 he was elected an Associate of the Royal Academy, at the age of twenty-five, and three years later was elected Academician, after which he traveled and painted in Europe through France and Switzerland and up the Rhine; later he visited Italy, where he painted his famous Venetian series, the most revolutionary landscapes painted up to that time; he was one of the most orig- inal geniuses in the art of the nineteenth century, exerting a powerful influence on his contemporaries as well as upon latter- day painters, especially the French Impressionists, who derive directly from him; he died in 1851 and was buried beside Sir Joshua Reynolds, in the Crypt of St. Paul's.

THE ANCIENT CITY No. I25

On canvas h. 193^ in.; w. 26 M in. Lent Anonymously.

PRINCE OF ORANGE

LANDING AT TORBAY No. I26

On canvas h. 273^ in.; w. 35 J^ in.

Lent Anonymously.

SELF portrait:

TURNER AS A YOUNG MAN No. I 27

On canvas h. i6}4 i}^-', '^- "^S/i in.

The three foregoing characteristic examples of three periods in Turner's art were continuously in the possession of the English family who purchased them direct from the artist until recently acquired by an American collector; they have never before been exhibited anywhere.

Lent Anonymously.

CONSTABLE [1776-1837] ENGLISH SCHOOL

JOHN constable: Born at East Bergholt in Suffolk on June 11, 1776, the son of Golding Constable, a well-to-do miller. He is gen- erally regarded as one of the greatest realistic landscape painters of England, and, together with Turner, as the father of modern landscape painting, exerting a decisive influence in shaping the trend of modern French art through the Impressionists, who were inspired to their out-of-door realism by the works of these two

52 BRITISH PAINTING

English innovators. After considerable parental opposition, he was permitted to enter the School of the Royal Academy. At first he painted some portraits and essayed several historical subjects, and even painted two altarpieces. His art was a distinct depar- ture from the pseudo-classical style then in vogue.

A COTTAGE No. 128

On canvas h. i8 in.; w. 23 in.

Signed jon. constable, f. Dated 1817

Mentioned in C. R. Leslie's book, " Memoirs of the Life of John Constable," page 77 (2d edition, London, 1845). Exhibited in The Royal Academy in 1 817.

Lent by the Ehrich Galleries

STOKE BY NAYLAND, SUFFOLK No. I29

On canvas h. 26 /'«.; w. 2(> ^«'

Engraved by David Lucas in English Landscape Scenery from "Pictures painted by John Constable R. A." Exhibited: Royal Academy, by Sam Mendel, England, in 1872; Brussels in 1873. Collections of: John W. Wilson, Paris, 1873; Sir Audley Neeld, Bart., Grittleton House, England; Clifton Shield, Esq., London; Charles E. Locke, Esq., New York. Described in the Catalogue of John W. Wilson p.13.

Lent by The Kleinberger Galleries

HARLOW [1787-1819] ENGLISH SCHOOL GEORGE HENRY HARLOW, portrait and historical painter: Born in London in 1787, and died there in 1819 at the age of 32. He studied first with the landscape painter Hendrik De Cort and later under Samuel Drummond, and finally came under care of Sir Thomas Lawrence for a brief space. He was a painter of his- torical subjects as well as portraits which became enormously popular in his day.

;' PORTRAIT OF

A LADY WITH PARROT No. I30

On canvas h. 94)^ in.; w. 58

Collection of: Count Stanislas de Ca!

Lent by The Ehrich Galleries

On canvas h. 94)^ in.; w. 58)^ in.

Collection of: Count Stanislas de Castellane, of Paris,

EXPLANATORY NOTE

ON TECHNIQUE, ON ALTARPIECES, AND

THE PREPARATION ^ PAINTING

OF A PANEL

The following brief notes on different kinds of painting, culled from the recently published catalogue of the Fogg Museum, Cam- bridge, Mass., may be found useful to those visiting this Exhibition:

"The difference between the different kinds of painting is largely the difference between the different kinds of medium used to bind the pigment. In all cases there is pigment, which is color in the form of powder. \n fresco the pigment is mixed with water and laid upon wet plaster. As the plaster dries a chemical action takes place whereby the particles of pigment are bound to the surface of the wall. Fresco a Secco is the method of retouching fresco with tempera after the plaster has dried. In Water Color the pigment is mixed with gum arabic or other gum, in Illumi- nation with egg and gum usually, in Oil Painting with oil, and in Tempera with egg or with glue.

"It is not always easy to describe the exact process by which a picture was painted. The so-called Oil Painting of the early Flemish Masters was introduced into Venice, according to Vasari, by Antonello da Messina. The first Venetian Masters to adopt the new method used it in a way not dissimilar to the manner of the Flemings. Titian and the later Venetians de- veloped a freer and broader manner, just as Rubens and the seventeenth-century Flemish Masters did in the North.

"There is a tradition that Baldovinetti and other masters were dissatisfied with the tempera technique and experimented with the oil medium before the approved Flemish method was introduced into Italy. Vasari says that the Flemish method was introduced into Florence by Domenico Veneziano, who used oil in paintings in Santa Maria Nuova, 1439-1445. But it may be fairly assumed as a general rule that any panel painted before the middle of the fifteenth century in Italy was executed in tempera. The difficulty is to determine the exact process during

54 EXPLANATORY NOTE

the last decades of the fifteenth and the first part of the six- teenth century when the Italian masters were gradually chang- ing from the use of tempera to the use of oil. It is probable that many of the pictures painted in this period contained both tempera and oil paint.

"The later Renaissance painters in oil developed certain pecu- liarities, especially noticeable in Sienese painting, such as Chiaroscuro, Morbidezza, and Sfumatura. Chiaroscuro, literally meaning light dark, is used to denote light and shade. By the Italians the term is used especially with reference to the model- ing of surface obtained by the use of light and shade. Morbidezza, literally meaning softness, mellowness of tint, is a term used especially to indicate the softness and transparency of flesh texture obtained by certain masters, notably by Correggio and Leonardo, partly by melting edges and suppression of sharp contours. Sfumatura, literally, means smokiness. This term in its significance is not very different from Morbidezza. It is em- ployed to express the way in which one field melts into another without sharp edges, and the modeling moves from light to shadow as gently and imperceptibly as smoke.

"The method of preparing a panel is elaborately described by Cennino Cennini, who wrote in the late fourteenth or early fifteenth century. Poplar, and less often lime and willow, were used by the Italians, and oak by the masters of the northern schools. The early Venetians are said to have used German fir.

"The panel, if made of several pieces, was doweled together and the joints covered with strips of linen. Sometimes the whole panel was covered with linen or more rarely with parchment. After that a coat of gesso, composed of whitening (chalk) or plaster of paris mixed with glue, was laid on the panel. The design was then sketched on with a needle fixed into a small stick, and the outlines of the figures which came against such parts of the background as were to be covered with gold, were engraved. The parts of the panel which were to be gilded were covered with a coat of Armenian bole, a reddish clay, mixed with white of egg. Cennino instructs the artist to cover the whole panel with gold if he can afford it. This was sometimes done, though gold was more often laid on where it was actually visible.

^

DUPLESSIS: PORTRAIT OF MARQUIS DE CHILLON No. 94

EXPLANATORY NOTE 55

In either event, the system was more akin to the transparent water-color system than to painting in oil with a thick impasto, because the brilliancy of the white or gold ground shining through the paint produced an effect of clarity and unity in the colors. When these processes were completed the panel was ready for painting. The first stage of the tempera painting was the model- ing of the faces and the shadows of the draperies in terra verde, a green earth, mixed with yolk of egg as a medium, then the suc- cessive coats were laid on the panel according to definite rules until the final effect was reached. Thus in the flesh tones red and yellow paint superimposed on the green under-painting would produce a result neither too warm nor too cold. The modern painter as a rule gets his balance of colors by placing the dif- ferent tints side by side instead of one on top of the other.

" For the painting of draperies Cennino directs the artist to get three vases and mix three shades of color, red, or whatever it may be, after that to put in the darks, then the half tones and then the light, and finally work up to the highest lights with pure white." [The results of this method may be seen in the ma- jority of the pictures in the Italian section of this Exhibition.] "The strongest color is in the half tones and shadows; and the highest lights, which were originally probably nearly white, in many cases have mellowed with age to a warm golden tone. Occasionally the color was modeled in the light to yellow in- stead of white." [The paintings in this Exhibition by Flemish, German and Venetian masters may be characterized in general in a different way. These later artists tended to have the strong- est color in the lights and to neutralize the shadows.]

"The typical altarpiece of the fourteenth and fifteenth cen- turies was in general made /up of different compartments or panels. The central panel contained the chief scenes or figures. On either side were wings on which were represented subsidiary scenes or figures of saints. Frequently scenes or figures were painted on the outside of the wings, which then folded as shutters over the central panel. Above the large panels were gables or pinnacles, usually containing half-length single figures — saints, prophets or angels, a representation of God the Father or God the Son, or often the Virgin or the Angel of the Annunciation. Heads

56 EXPLANATORY NOTE

of saints were frequently introduced into small circular or oval panels, called medallions, or panels shaped like a clover-leaf, called trefoils or quatrefoils, according to the number of arcs. At the base of the central panel and the wings was the predella, of small divisions or compartments, in which were represented scenes which had some bearing on the main panels — scenes from the life of Christ, or scenes connected with the lives of the saints, their miracles and martyrdoms.

"An altarpiece of two panels which folded together like a book was called a diptych. A triptych is an altarpiece of three divisions, the two wings often closing over the main panel." [Such as the Triptych by De Bles and the late fifteenth-century German Triptych in this Exhibition.] "An altarpiece of more than three divisions was called a polyptych. In Eastlake's 'History of Oil Painting' the following note is given: 'The practice of enclosing pictures in cases with doors is to be traced to the use of portable altarpieces. The above terms were originally applied to the use of books ilibellt) composed of a few tablets or leaves, generally of ivory. The more ornamented kinds were called simply diptychs, because they consisted of ivory covers only, in which leaves of the same substance or of vellum might be inserted. . . . The consu- lar diptychs, for example, were nothing more than ivory covers in which the book, or libellus, itself might be enclosed. They were presents distributed by the consul upon entering office, and generally exhibited the portrait and titles of the new dignitary on one side, and a mythological subject on the other. The covers were carved on the outside.

" 'At a very early period in the Christian era similar diptychs of a larger size were employed in the service of the Church. They sometimes contained the figures of saints and martyrs on the in- side and were subsequently exhibited on the altar open. The cir- cumstance of the principal representation being on the inside, instead of the outside, constitutes, apart from the subject- matter, the chief difference between the sacred and the consular diptychs.' "

'^id: portrait of madame de servan

No. 9b

LE brun: portrait of la comtesse

DE PROVENCE No. lO^

BIBLIOGRAPHY

All the booh starred C^) may be consulted in the San Francisco Public Library

%

DICTIONARIES

*Larousse, Pierre Athanase: Grand dictionnaire universel du XI X^ Steele. Paris J 1866-90. 17 r.

TECHNIQUE OF PAINTING

*Cennini, Cennino: A treatise on painting. London^ 1844.

Eastlake, Sir Charles: Materials for the history of oil painting. London, 1869. 1 v.

* Leonardo da Vinci: Treatise on painting. London, 1901.

*Moreau-Vauthier, Charles: The technique of painting. New York, 1 912.

GENERAL HISTORIES

*Blanc, Charles: Histoire des peintres de toutes les ecoles. Paris, 1861-76. 2 V.

*Kugler, Franz Theodor: Handbook of painting, German, Flemish and Dutch schools. London, 1904. 2 v.

*Michel, Andre: Histoire de Vart. Paris, 1905-13. 5 v. in 10.

*Muther, Richard: The history of painting. New York, 1907.

*Reinach, Salomon: Apollo. New York, 1907.

ITALIAN PAINTING: EARLY CHRISTIAN AND

ME,DIAEVAL PERIOD, 3OO-I25O

*Crowe, Sir Joseph Archer: A history of painting in Italy, by J. A.

Crowe and G. B. Cavalcaselle; ed. by Langton Douglas.

London, 1903-14. 6 v.

58 BIBLIOGRAPHY

*Kugler, Franz Theodor: Handbook of painting Jhe Italian schools. London, 1855. 2 t;.

Kondakov, Nikodim Pavlovich: Histoire de Vart byzantin. Paris, 1886-91, 1 V.

Strzygowski, Josef: Orient oder Rom. Leipzig, 1901.

Venturi, Adolf 0: Storia dell' arte italiana. Milan, 1901.

fFilpert, Josef: Die Katakombengemdlde und ihre alten copien. Freiburg, 1891.

ITALIAN painting: GOTHIC PERIOD, I25O-I4OO

*Berenson, Bernhard: The central Italian painters of therenaissance. New York, 1907.

* The Florentine painters of the renaissance. New York, 1906.

* North Italian painters of the renaissance. New York, 1907.

* A Sienese painter of the Franciscan legend. London, 1909.

* The study and criticism of Italian art. London, 1903.

*Berenson, Bernhard. The Venetian painters of the renaissance. New York, 1906.

* Brown, Alice Van Vechten: A short history of Italian painting, by Alice Van Vechten Brown and William Rankin. London, 1914.

*Crowe, Sir Joseph Archer: A history of painting in north Italy, by J. A. Crowe and G. B. Cavalcaselle. London, 191a. 2 0.

*De Selincourt, Basil: Giotto. London, 1905.

*Morelli, Giovanni: Italian painters. London, 1 892-93. 2 v.

*Ricci, Corrado: Art in northern Italy. New York, 191 1.

*Thode, Henry: Giotto. Leipzig, 1899.

ITALIAN PAINTING: EARLY RENAISSANCE,

1 400- 1 500

Fry, Roger Eliot: Giovanni Bellini. London^ 1 899.

REYNOLDS: SELF PORTRAIT

No. I lo

GAINSBOROUGH: PORTRAIT OF HON. MRS. WM. DAVENPORT No. II4

BIBLIOGRAPHY 59

Horne^ Herbert Percy: Alessandro Filipepi, commonly called San- dro Botticelli. London^ 1908.

*Symonds, John Addington: Renaissance in Italy. London, 1888- 98. 7 :;.

ITALIAN painting: THE HIGH RENAISSANCE, I 500-1 600

*Grimm, Herman: Michael Angela. London, 1890. 1 v. *Passavant, Johann David: Raphael of Urbino and his father, Giovanni Santi. London, 1873.

* Pater, Walter Horatio: Studies in the history of the renaissance.

London, 1873.

* Phillips, Sir Claude: Titian. London, 1898.

*Richter, Jean Paul: Leonardo. London, 1880.

*Symonds, John Addington: The life of Michelangelo Buonarroti. London, 1901. 1 v.

*Thiis, Jens: Leonardo da Find. London, n. d.

*Wolfflin, Heinrich: The art of the Italian renaissance. London^

FRENCH painting: FROM THE BEGINNING TO

THE NINETEENTH CENTURY Blanc, Charles: Les peintres des fetes galantes. Paris, 1853.

Bouchot, Henri Frangois Xavier Marie: Les Clouet et Corneille de Lyon. Paris, 1892,

Goncourt, Edmond Louis Antoine Huotde: Uart du XFIII^' siecle. Paris, 1874.

*Hourticq, Louis: Art in France. New York, 191 1.

FRENCH painting: THE NINETEENTH CENTURY MacColl, Dugald Sutherland: Nineteenth century art. Glasgow, 1902.

6o BIBLIOGRAPHY

SPANISH PAINTING

* Armstrong, Sir Walter: Art of Velasquez. London, 1906. *Beruete y Moret, Aureliano de: Velasquez. Paris, 1898. *Caffin, Charles Henry: Old Spanish masters. New York, 1907.

Cossio, Manuel BartolomS: El Greco. Madrid, 1908. 2 v.

Lafond, Paul: Goya. Paris, 1902. *Lefort, Paul: Francisco Goya. Paris, 1 877. *Ricketts, Charles S.: The art of the Prado. Boston, 1907.

* Stevenson, Robert Alan Mowbray: Velasquez. London, 1906. Yriarte, Charles Emile: Goya. Paris, 1867.

FLEMISH PAINTING

*Crowe, Sir Joseph Archer: Early Flemish painting by J. A. Crowe and G. B. Cavalcaselle. London, 1 872.

Durand-Greville, Emile: Hubert et Jean van Eyck. Bruxelles, 1910.

Lafond, Paul: Roger van der Weyden. Bruxelles, 1912.

*Michiels, Joseph Alfred Xavier: Histoire de la peinture flamande et hollandaise. Paris, 1 847-48. 4 v.

*Rooses, Max: Art in Flanders. London, 1914.

LATE FLEMISH AND BELGIAN PAINTING: SEVENTEENTH TO THE TWENTIETH CENTURY *Bode, Wilhelm: Great masters of Dutch and Flemish painting. London, 1909.

*Fromentin, Eugene: The old masters of Belgium aftd Holland. Boston, 1882.

Guiffrey, Jules Joseph: Sir Anthony Van Dyck., 1896.

Mander, Carel van: Le livre des peintres. Paris, 1884-85. 2 v. * Michel, Emile: Rubens. London, 1899. *Rooses, Max: Rubens. London, 1904.

BIBLIOGRAPHY 6l

DUTCH PAINTING

Blanc, Charles: L'ceuvre complet de Rembrandt. Paris, 1859-61.

1 V.

Bode, fVilhelm: Adriaen van Ostade. Vienna, 1881.

Franz Hals und seine schule. Leipzig. 1 871 .

Studien zur geschichte der holldndischen malerei. 1883.

Friedldnder, Max J.: Meisterwerke der niederldndischen malerei. Miinchen, 1903.

Hale, Philip Leslie: Jan Vermeer of Delft. Boston, 1913.

Hofstede de Groot, Cornelius: Jan Vermeer van Delft en Corel Fabrituis. Amsterdam, 1907.

*Valentiner, Wilhelm R. The art 0/ the Low Countries. Garden City, 1914.

GERMAN PAINTING Gauthiez, Pierre: Holbein. Paris, n. d.

*Kugler, Franz Theodor: The German, Flemish, and Dutch schools. London, 1904.

Sandrart, Joachim von: Teutsche akademie der edlen baubild- und malerey-kunste. Nurnberg, 1675-79.

Springer, Anton: AlbrechtDUrer. Berlin, 1892.

fVolfflin, Heinrich: Die kunst A. Durers. Berlin, 1907.

BRITISH PAINTING

* Armstrong, Sir Walter: Art in Great Britain and Ireland. New York, igog.

* Gainsborough and his place in English art. London, 1906.

*_

-Sir Henry Raeburn. London, 1901. -Sir Joshua Reynolds. London, 1900. -Scottish painters. -Turner. London, 1902.

6l BIBLIOGRAPHY

*Cunningham, Allan: Lives of the most eminent British painters, sculptors, and architects. London, 1879. 3 ^•

*Dobson, Austin: Hogarth. London, 1883.

*Leslie, Charles Robert: Life and times of Sir Joshua Reynolds. London, 1865.

* Memoirs of the life of John Constable. London, 1845.

*Ruskin, John: The art of England. London, 1908.

Sandby, William: The history of the Royal Academy of Fine Arts. London, 1862. 2 :;.

* Swinburne, Algernon Charles: William Blake. New York, 1906.

*Van Dyke, John Charles: Old English masters. London, 1902.

Walpole, Horace, /fth earl of Orford: Anecdotes of painting in Eng- land. London, 1894. 3 v.

romney: porikai I oi lady Hamilton

No. 1 17

RAEBURN: portrait of professor ANDREW DALZEL No. II9 1

INDEX TO ARTISTS

Amberger, Christoph

Number c8

Baldung, Hans

57

Benson, Ambrosius

38

Bles, Henri Met de

32

Blondeel, Lancelot

34

Boly Ferdinand

51

Bosch, Hieronymus

44

Boucher, Frangois

90

Bronzino, Angelo Allori

12

Bruges, School of

33

Bruyn, Barthel

59

Burgos, Juan de

65

Camerino, Girolamo di Giovanni da

4

Campi, Giulio

13

Canale, Giovanni Antonio da

See Canaletto

Canaletto

25-27

Chardin, Jean Baptiste Simeon

88

Coello, Alonzo Sanchez

68

Constable, John

128, 129

Cotes, Francis

112

Cranach, Lucas, the Elder

5^

Cranach, Lucas, the Younger

(>3

Crome, John {"Old Crome")

121

Cuyp, Aelbert

52

David, Jacques Louis

98-102

Del Biondo, Giovanni

2

Dossi, Dosso

8

Duplessis, Joseph Sijrede

94

Duvivier, Mile. Aimee

106

Ferrara, Ferrari

3

Gainsborough, Thomas

113-116

German School {Late XV Century)

SS

German School {Late XVI Century)

64

Gianpedrino

19

Gossaert

See Mabuse

Goya, Francisco

79-81

64 INDEX TO ARTISTS

Goyeriy Jan Josef sz van

46

Greco-Byzantine

I

El Greco

69-75

Greuze, Jean Baptiste

93

Grien or Griin

See Baldung

Harlow, George Henry

130

Heem, Jan Davidszoon de

49

Italian School {XVI Century)

22,23

LagrenSe, L.

89

Lambertini, Michele di Matteo

5

Lawrence^ Sir Thomas

1 22-1 24

LeBrun, Mme. Vigee

103-105

Le Nain, Antoine, Louis, Mathieu

82-84

Lo Spagna

15

Lotto, Lorenzo

9

Luini, Bernardino

7

Mabuse

30

Maes, Nicolaas

54

Mantegna {School of)

6

Marconi, Rocco

14

Massy s, ^uinten

29

Master of Frankfort

62

Master of Ly vers berg Altar

61

Master of St. Severin

60

Mazzuola, Girolamo

21

Miranda, Juan Carreho de

78

Morales, Luis de

67

Moretto, Alessandro Bonvicino

II

Moro, Antonio

40

Neufchatel, Nicolas

39

Or ley, Bernard van

31

Palamedes, Anthonie

47

Palma, Jacopo

20

Penni, Giovanni Francesco

10

Perronneau, Jean Baptiste

95

Pietro, Giovanni di

See Lo Spagna

Raebum, R. A., Sir Henry

118-120

Rembrandt

48

LAWRENCE: PORTRAIT OF LADY FA LCON E R-ATL E E

No. 122

INDEX TO ARTISTS

65

Reynolds, P. R. A., Sir Joshua

108-111

Ricci, Giovanni Pietro

See Gianpedrino

Rigaud, Hyacinthe Francois

85

Robert, Hubert

96

Robustiy Jacopo

See Tintoretto

Romney, George

117

Rubens, Pieter Paul

41

Ruisdael, Jacob van

53

Sanders, Jan

See Van Hemessen

Stevaerts

See Palamedes

Teniers, David, the Younger

37

Theotocopuli, Dominico

See El Greco

Tiepolo, Giovanni Battista

24

Tintoretto

16, 17

Tocque, Louis

87

Turner, Joseph Mallard William

125-127

Van Acken

See Bosch

Van Dyck, Anthony

42,43

Van Hemessen

35.36

Van Loo, Louis Michel

91

Vergos, Pablo

66

Vernet, Claude Joseph

92

Veronese, Paolo

18

Vestier, Antoine

97

Watteau, Jean Antoine

86

Weyden, Roger van der

28

fVijnants, Jan

50

Wilson, Richard

107

Zurbardn, Francisco de

76,77

SUBJECT y TITLE INDEX

Every painting is listed by its respeSlive catalogue

number^ and a star (^) indicates the

painting is illustrated

ALLEGORICAL, CLASSICAL, HISTORICAL, AND MYTHOLOGICAL Number

Allegory of the Soul 1 1

Cleopatra ry

Diane et Endymion *90

Muse of Painting and Sculpture, The 89 Mythological Subject loi, 102

Warrior^ A 8

GENRE PICTURES

Aristocratic Family, An 83

Bourgeoisie, A Family of the 82

Card Builder, The *88

Children in the Woods 116

Halt of Dutch Noblemen Before an Inn 52

Hunt, The *4i

Proletariat, The *%^

Return from the Inn, The *93

Temptation, The *5i

Triumph of Colombine, The *86

LANDSCAPES

Ancient City, The 1 25 Canal in Venice 26, 27

Cascades de Tivoli, Les 92

Chateau de Cleves *50

Cottage, A 128

Dutch Landscape 46

Edge of the Common, The 113 Landscape: Cicero and His Two Friends, Atticus and ^uintus,

at His Villa at Arpinum 107

SUBJECT AND TITLE INDEX 67

Landscape with Cascade *53

Landscape with Old Mill 121

Orange i Prince of. Landing at Torbay 126

Piazzetta 25

Ruins Near Rome 96

Stoke by Nay land, Suffolk *ii^

PORTRAITS

Artist's {Ves tier's) Daughter, Portrait of 97

Barrett, George Rogers, Portrait of 1 24

Bates, Mr. and Mrs. Joah, Portrait of 112

Berlaimont, Comte de. Portrait of 87

Campbell, Rev. David, Portrait of 120

Cardinal, A, Portrait of 91

Caricature, Reynolds and His Friends 109

Chaloner, Thomas, Portrait of 42

Chillon, Marquis de. Portrait of *94

Cockbum, Mrs., of Rowchester, Portrait of 115

D'Acqueville, Marquis, Portrait of 106

Dalzel, Andrew, Professor, Portrait of *i 19

Darcy, Mr., Portrait of 95

Davenport, Hon. Mrs. Wm., Portrait of *ii4

Doria of Genoa, Prince, Portrait of *43

Falconer-Atlee, Lady, Portrait of *I22

Falconer-Atlee, Sir, Portrait of 123

Famese, Ottaviano, Second Duke of Parma, Portrait of 21

Gentleman, A, Portrait of *9

Hamilton, Lady, Portrait of *i 17

Julia, Asensio, Portrait of 81

Kinski, Countess, Portrait of 104

Labadye Family, Child of. Portrait of 103

Lady with Parrot, Portrait of 13°

Lady, A, Portrait of 47> *^Z

Lindsay, Rev. James, Portrait of 118

Man, A, Portrait of 3 8

Mazarredo, Admiral, Portrait of 79

Medici de, Cosimo I., Portrait of *I2

Mendoza, Sehora de. Portrait of *68

68 SUBJECT AND TITLE INDEX

Morosini, Francesco, Portrait of *iy

Nobleman, A, Portrait of 8c

Orange, Princess of *rA

Pecoul, Madame, Portrait of no

Pecoul, M., Portrait of loo

Philosopher, A, Portrait of lo

Porti, Count, Portrait of *i8

Posada y Soto, Don Ramon, Portrait of *8o

Pozo, Miguel del. Portrait of *'j'j

Provence, La Comtesse de *ioc

Rio, Senora del. Portrait of 40

Sc ambler, Edward, Portrait of to

Self Portrait, de Miranda *^8 Self Portrait, Reynolds * 1 1 o, n i

Self Portrait, Turner as a Young Man 127

Servan, Madame de. Portrait of *^Z

Sibille of Cleves, Portrait of *f 6

Van Peeman of Cassel, Signeur, Portrait of 35

Venetian Nobleman, A, Portrait of *i^

White, the Pavior, Portrait of 108

fVife of Artist (Teniers) in the Garden of Their Home 37 Young Lady, A, Portrait of *io, *iq

Young Man, A, Portrait of 16

Young Woman, A, Portrait of *3o

Zeller, Conrad, Portrait of *<;8

RELIGIOUS PICTURES

Annunciation, The 62, 74

Christ on the Cross *6 Coronation of the Virgin 1, 3, ^3

Crucifixion, The *2g

Descent from the Cross — Triptych 55

Entombment of Christ, The *6l

Head of Christ ti

Jesus in the House of Simon *73

Madonna and Child 67

Madonna, Child and Angels 60

Madonna and Child Surrounded by Angels *66

SUBJECT AND TITLE INDEX 69

Madonna^ Child and Saints

23

Martyrdom of the Seven Maccabees

*59

Mater Dolorosa

34

Pieta

4,28

Saint, A

*44

St. Augustine

65

St. Catherine

*1^1^

St. Francis

71,75

St. Jerome

i5> *3(>

St. John

*i,69

St. John the Baptist and St. John the Apostle

5

St. Lucy

76

St. Peter

48

Tobias and the Angel

20

Three Scenes in the Life of the Virgin — Triptych

32

Virgin^ Holy, The

70

Virgin and Child

*3i

Virgin and Child, with Saints, The

24

Virgin Surrounded by Angels

64

STILL LIFE

Table with Fruit

*4q

TAYLOR • & • TAYLOR

EDWARD DEWITT Sf HENRY H. TAYLOR

SAN FRANCISCO 1920

■^<*d884

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