UC-NRLF
^B 141 IDD
,'i
THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA
GIFT OF
Professor
Jurgen Schultz
{&^d£;^
mmmm
3>44caaB25S»,A:^:
LOAN
EXHIBITION/
PAINTINGS BY OLD MASTERS/
THE SAN FRANCISCO
MUSEUM OF
ART
/
A^D-MCMXX
p
^
^
'k
i
i
i
%.
%
p
i#
B
1
1
1
8
^^
^r
I/sfi
v^ J^
ijAi
^
^^
^I
1
1
1
S
1
1
p
p
1
1
1
li
's£<m'
PAINTINGS BY OLD MASTERS
Digitized by tine Internet Arciiive
in 2007 witii funding from
IVIicrosoft Corporation
littp://www.arclii,ve.org/details/catalogueofloaneOOsanfricli
'--^-> M
u
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
m
i
■ «P«.
««*
jgarA -
*" "flily
1
35iB3^^^BWlk-^
''<3?j|^^^^^^H
-' J^'
^^^^^^1
m »1^
^---^ ^^^^1
-■'^^
2
^^Hj^^H^V^
■i^S^iff^
1.5P^
P«^^
"" 3^5>**^.-*
liHriflilliik.
-5!^s5»iaBBw
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^
t &
7
/
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
\ssism.
bhik