Professional Documents
Culture Documents
LOUVRE
141
,v
W""^'
"''"
REPRODUCTIONS
-^
100
PAGES
IN
FULL COLOR
$12.50
As
is
Supplementing
achieve.
a large
modern
number
of
this
Because of
its
breathtaking array
monochromes
illustrations altogether a
with the
in full color
and
is
of objects of artso
on giving
the
is
kind of
in effect a
"portable Louvre."
The
its
its
pres-
Then
fol-
European painting,
Western
tracing
art expression
present.
The
help to
make
the
development
of
to a
more
SEE
everywhere.
TITLES
IN
THIS
SERIES
Property of
The
Hilla
QUENTIN MATSYS
Painted 1514
Tempera and
oil
on panel, 2S"
26"
Flemish School
ART TREASURES
OF THE
LOUVRE
RENE HUYGHE
CURATOR-IN-CHIEF OF PAINTING AND DRAWING, THE LOUVRE
HARRY
BRIEF HISTORY OF
N.
S.
FOX
EDITION
FIRST
milton
Supervision of Color Plates by
s.
Walter neurath
fox, Editor
in the
No
Published simultaneously
in the
"111
il
1"
1
i
I,
it* 4=
The Louvre
'
Book
of
CONTENTS
PAGE
The Louvre A
Brief History by
Milton
S.
Fox
Western Painting translated and adapted from the French of Rene Huyghe
Italian Painting
17
Flemish Painting
74
Dutch Painting
77
English Painting
81
Spanish Painting
83
German Painting
85
French Painting
86
Commentary
154
COLOR PLATES
PLATE
1
CORNEILLE DE LYON
QUENTIN MATSYS
ClMABUE
The Madonna
Giotto
Simone Martini
The Coronation
Fra Angelico
The
Baldovinetti
Antonello da Messina
10
of the
Angels
of the Virgin
Condottiere
Romano
Pisanello
UCCELLO
Man
Giovanni Bellini
11
Portrait of a
12
Calvary
Mantegna
13
Botticelli
14
Ghirlandaio
15
Mona
Leonardo da Vinci
16
Pastoral Concert
Giorgione
17
The Entombment
Titian
18
La
Raphael
19
Portrait of Alof
Lisa
Belle Jardiniere
de Wignacourt
Caravaggio
correggio
21
Calvary
Veronese
22
The Rape
of Proserpine
23 Paradise
Tintoretto
24 Fishing
Annibale Carracci
Guardi
GlAMBATTISTA TlEPOLO
27
28
The Annunciation
Memling
30
Gerard David
31
The Beggars
Bruegel
Rubens
32 Country Fair
33
34 Portrait of Charles
35
I of
Jordaens
England
The Smoker
Hieronymus Bosch
Tfte Resurrection of
38
TTie Watermill
Van Dyck
Brouwer
Lazarus
Hobbema
Rembrandt
39 Bathsheba
Lacemaker
Vermeer
40
ITie
41
La Bohemienne
42
Still
43
Potter
44
Ruisdael
45
Celebration in a Tavern
Steen
Hals
Heda
Life
Ter Borch
46 TTie Gallant
47
Master Hare
Reynolds
48
Helmingham Park
Constable
49 Vieu; a Versailles
Bonington
Lawrence
51
Portrait of Covarrubias
El Greco
52
The Funeral of
Zurraran
53
The Clubfoot
54
Portrait of
55
Woman in Grey
Saint Bonaventure
Queen Mariana
RlBERA
Velasquez
Goya
56 Self-Portrait
DURER
57 Anne of Cleves
Holbein
58
Saint Martin
FOUQUET
59 Pietd
Malouel
(?)
Unknown
Painter
Master of Moulins
61
Saint
62
Portrait of Francis I
63
64
Louis Le Nain
65
The Triumph
Poussin
66
Jean Clouet
of the
Waters
of Flora
68
69
Portrait of
Georges de La Tour
De Champaigne
Raymond
Louis XIV
Le Sueur
Diocres
Rigaud
Watteau
The Bath
of
77 Portrait of
78
The Bathers
79
The
Lancret
Chardin
Boucher
Diana
Madame de Pompadour
Madame de Sorquainville
76 Portrait of
Le Brun
Arnauld d'Andilly
70 The Death of
Portrait of
Painter
Claude Lorrain
Seaport at Sunset
71
Unknown
Quentin de La Tour
Perronneau
Fragonard
Battle of the
Odalisque
82
Portrait of
83
David
Prud'hon
Ingres
Count Fournier-Sarloveze
Guard
Gros
Gericault
Delacroix
85 Oak Trees
Theodore Rousseau
86
Springtime
Millet
87 Belfry of Douai
Corot
and Scapin
Daumier
88
Crispin
89
Roe-Deer
90
91
Field of Poppies
Manet
Monet
92
Bay
Cezanne
of
COURBET
in a Forest
VEstaque
93 Flood at Port-Marly
94
Two
SlSLEY
Renoir
95 Dr. Gachet
Van Gogh
96 The Circus
Seurat
97
98
Dancing Class
99
Toulouse-Lautrec
War
Henri Rousseau
100
at the
Gauguin
Opera
Degas
The Louvre
A BRIEF HISTORY
The Louvre
is
more than
museum. It is
and culture. For
a great
fifty
years
it
that changes
a natural activity of
It is
civilizations, magnificently
and
rebuilt, in the
who
is
is
the
of all arts
and
housed.
It
has a
a living idea. In
built, tore
down
tremendous expenditures of
money,
in the acquisitions
efforts,
arts.
The
living idea
may be
life.
richest of
all
whom
to
workers
seen as an
talent,
in
artistic
and grace
are joined;
may
still
in the
southwest
from
his
With
own
Philip, Paris
became
at the
beginning of
and
arsenal. It
Tower
of London. In
Its
jewels,
re-
armor.
Though
it
was
tiny
by comparison with
Tuileries
covers
Saint
allied
25% "
it
Philip's
200 feet
acres
forty-five
celebrated
by
story-tellers
and
balladists.
Even
high.
then, Philip's
it
at Oxford,
organized
in 1773,
which
ago, as Paris, of
ally
it is
it
centuries
to
become
The
earliest
known
was
a fortress,
tus,
It is likely,
at the
louveterie
Low
Latin, lupara )
some
the headquarters
believe,
collectors.
of
from the
which
traces
among
As a
the
first
art
From
the twelfth
that
of
stained glass.
Philip Augus-
end of the
line of artists.
Its
Philip
in the
made
only
first
of
its
kind
in the
other nations.
In
1461,
ambassadors from
not
in Paris,
The Louvre
civil
law.)
now
through the
halls
left.
objects
emeralds, rubies
museums
Caryatids
is
located;
later,
was
to
The Louvre
a fortress,
in
glass,
vases
of the
when,
in
of
alabaster,
statuary
sapphires,
itself,
and part
Nationale.
reliquaries
is
now
in the
Bibliotheque
Nationale.
rebellious merchants
its
military importance
by
Once the
master of Paris, the Louvre now became its captive. Though it was to continue to function as
extending the city walls beyond
it.
arsenal
reigns,
it
now, under Charles V, became a part-time habitation of the royal family, filled with courtiers,
artisans,
et
porary lady of
letters,
An army
masons,
The
artists,
of architects,
hundred-and-fifty-year-old
final
to work.
were
buildings
quadrangle was at
The
last
it
was
a marvel to behold:
round, square,
tiles with pictur-
esque
gardens,
outbuildings,
trellises,
and a
fairy-
Despite
its
in the garret,
when,
in 1377,
Roman Emperor,
their suites of
the
more than a
name,
French
at
madman,
Agincourt
in 1415,
and occupied
Paris.
11
half, the
its
Louvre
its
out-
walls moldering,
it
its
authority;
it
no longer
to
object of art
and
resplendent and
display, adaptable to
luxurious living
Still,
"What
historic tower.
a pity
down
it is,"
of the
men
(plate 62),
man
was
here reproduced
sculptor, to
style."
work building
new
a palace in "the
his son,
Henry
II,
new southwest
angle,
is
it
was
to hold.
commanded Lescot
to plan a
Louvre of unprece-
They
size.
intermin-
gentle-
first
tainebleau,
a cosmopolitan, "the
of France."
of the world.
was
it
of great renown."
is
wrote a citizen
rents
end of the
Tuileries,
fifty
actuality;
every sovereign after Francis and every administration after the Bevolution
was
to
make
a fresh
at
became
The
creative life-blood
decorators, gardeners,
of this great
its
it is
showed
that
much
of Francis' collection
first
1642,
had mys-
Gothic
his
reign,
12
Benaissance overwhelmed
be poured into
was
it.
still
a weird
melange
new
in the
build-
and un-
new
teriously disappeared.
During
to
and
drew
still
These stone sculptures from the tomb of Philippe Pot, the grand seneschal of Burgundy (died in 1493),
represent the deceased in armor, in an attitude of prayer, on a slab carried by mourning figures with veiled
faces. It is a work of intense realism, and at the same time architectural in conception and emotional through
the
power
And an
English
8%"
long.
1871
sons,
jail.
shadowy
These
original
of the
of
as
halls
its
now
quickened,
its
nots,
civil
strife
tions
and
were
destiny.
Their
Grande
more than
difficult
times:
the
and
fais
With
this
first
now
turned toward
classicism.
of the
of
its
size
in
directions.
all
a period of intense
Colbert,
minister of
in,
of French art
were
beheaded
collections of nobles.
was founded
Italy;
I,
from
lished
And
in 1681,
on semi-public view
this
Voltaire (1694-1778) comes to life again, with his
unique and fascinating intellectual vitality, his great
wit and verve, in this masterly bust by Jean-Antoine
Houdon (1741-1828). Houdon's style has the precision
and lightness necessary for the portrayal of his mobile,
subtle subject. 25" high. Dated 1778.
of Louis' paintings
in the
Louvre
were put
itself.
During
were made
in the exterior
New
buildings.
arrangements of the
artistic capital of
until
this
arts
and
monarch
built
seldom had,
patronage.
in
Hundreds
assassin, Ravaillac
and planned
all
greatly.
such loving
history,
of artists
The
and craftsmen
on the lower
floors of the
called
to
built
Le
by
It
east.
To
designed
now
build
this,
much
of the
invited,
Rome
of the
who had
Baroque age,
The ancient
14
his atten-
all
was
still
in
Louvre.
fire in
the
of Renaissance grandeur,
Pierre Lescot.
Petit
destroyed by
Grande Galerie a precedent which was continued by all succeeding reigns until Napoleon I
The palace
as Poussin.
to
moved
to his
beloved Versailles.
a curiously as-
of disrepair
and
fine arts"
mem-
took place;
to
be installed
in 1804, the
Napoleon" expanded
rapidly;
as the
"Musee
antiquities
from
and
its
Rome. Courtiers moved into the apartments, which they transformed to their own taste
and at the King's expense. They ripped out the
paneling, defaced the ceilings, and opened skylights in the attic roof. The Academies of Painting
and Architecture now occupied the quarters in
the Grande Galerie which Henry IV had assigned
of ancient
ing held
1725 the
Academy
out works of
After
art.
Waterloo,
the
victors
took
from the
of Paint-
its
by making it
but the proposal was rejected by the
a city hall,
Toward
King.
itself of
using the
museum. The
success of a
Luxembourg
Louvre
as a public
were presented
tures in the
It
for a
Grande Galerie
was not
of the Louvre.
came
museum was
pic-
to fruition,
however,
and on November
inaugurated.
Its
guid-
Works
were no longer
to
be assembled
be available
to
all.
The
painter David
for the
were
was
to
presi-
and
its
100,000 francs.
The
royal collections
were supplemented by
in the
Grande Galerie
in
Regarded by many
example of the Greek ideal of feminine
beauty, it belongs to a late period of Greek art. The
end of the second century B.C. 6' 6" high.
of
its
as the finest
15
Rubens paintings transferred from the Luxembourg Palace, with additional paintings formerly
assigned by the Convention to provincial
seums; the
final transfer of
mu-
Petits-
First
Empire.
but
was Napoleon
it
final
the Louvre
its
were commissioned
buildings which join
Louvre
the
who gave
III
to erect
new
buildings, replacing
many
of the older
of the
many
of
named. In addition
gifts
whom
to
its
from gen-
various gal-
paintings and
is renowned for
Roman, Egyptian, and
Archaeological finds came
collection of Greek,
Oriental antiquities.
from excavators
its
in
remain
in the
filling
still
Second Empire.
Com-
fire
ing the
damaged
much
de-
tions
lections
interiors
and
exteriors
The excrescences
the hovels and
trances
were
of the eighteenth
stalls
in the
century
it
ings
had
when
finally
money a major
lent
controversy
who had
who
artists
still
d'etre,
Concorde,
the universality of
16
la
the
the goal
sensibility;
its
idea and
but because of
its
treasures,
later
to
it
pil-
be made.
Milton
S.
Fox
fimmMammmm m*
An enamel
The
tradition of
its
Western Painting
ITALIAN PAINTING
traditions of
a sterility that
sensibility,
it
fresco.
rest of the
Roman Empire
it
had
in
split off
395 A.D.,
from the
this East-
Western
art,
gradually transforming
them with its own Near-Eastern taste and character. Byzantium created an art of hieratic images
scintillating with gold, images whose shapes and
colors were designed to induce contemplation
and ecstasy, impressing the believer with their
high religious solemnity rather than with their
representation of nature.
Under the
made her
first
at the
when Cimabue
end
in
of the
Florence
17
it
Italian painting
The
image the
to
real world.
first
serted that
tion
began
who as-
and His
love he
had
for
had
nature. No longer was
Assisi
and love
it
as
it
it.
faces
to
make
he gave
relief
and depth
tine painting
knew
ture,
were not
to
of
Byzan-
be forgotten: Giotto
to his
plane on
minutely
re-
human
intelligence
seemed
significant,
the essential.
The
commanded,
it
selected
it
and
simplified,
it
spirit,
approach
great rival,
was not
to
what
extracted
dominated
was not
Giotto's
Florentine
enough
(plate 5)
Tliis suit of
armor belonged
(1503-1555).
A work
to the
of high craftsmanship,
it is
II
the great
Roman
greatest Sienese
richly
art. It
general
made
their ap-
peal to the mind. In Simone's work, the expressiveness of the pictorial conception, the vivacious
color,
and
his rival
Duccio
in Siena
their
new
were painting
fidelity
may seem
its
to
enchant
of line
the sensibilities.
of Florence,
To
were combined
the virile genius
city gate
still
is
wider to
to
its
direction.
reality.
also in
The
4).
after
Cimabue, Giotto,
it
records!
18
and reproduce
impose on
his needs, to
it
mold
it
to
it,
to
art.
groping
paths.
It
way
its
of
maze
of paths
and by-
began
whom
of Fra Angelico, of
work
in a
Virgin (plate
6).
of realitv.
With
all
Thomas Aquinas,
all
the spon-
more
its
simplicity
and
belonged.
bathed
morning
His
in
the
light,
was receptive
which was
revival of antiquity,
to enable the
fif-
Mercury Taking Flight, by Giovanni da Bologna (1524French by birth he derives his name from
Boulogne in France Giovanni setttled in Itah his work
shows the influence of both Michelangelo and the
Middle Ages.
1608).
companied by
First of
all,
its
liberation
man had
classical sculptors.
zephyr, has
feet
He had
itself.
and see
first,
enchantment
lus to his
that
mind. This
to feel
it
and
later,
stimu-
to reflect
re-
faith,
a revival of paganism.
to pass to
The
of a
winged
humanism and
narrative
and
pictur-
its
ap-
was emboldened
by the court
developed in France during and after
the thirteenth century, a civilization whose pictorial gifts became known outside its own frontiers through its ivories, tapestries, and other arts.
to frank secularity
civilization
Florence gave
was
on the breath
an
offered, at
from medieval
all
lightly poised
presence manifested
The bronze
this secular
humanistic character.
of
man and
Its art
trend a deliberately
became
measure
19
Etruscan sarcophagus, end of the sixth century B.C. Painted terra cotta, 6'4'/4" long, &'8 l6" high. From
Cervetri, in Italy. The figures represent husband and wife, with a mingling of primitive and realistic features
in the carving.
and
The
new
and
enterprise.
field for
Already
human
omy
investigation
Masaccio,
following
human
Christ,
anat-
Adam and
he studied
vol-
its
was
far
man
from content
amusement and
distraction.
He
scrutinized
it
Two
its
system of
By
his intention:
space
came under
conscious control.
its
own rude
savor.
Battle of San
mind
Romano
accommodate
simple
and
colors.
of lines
These
tists,
artists
had
greatest painters,
was
also
we need
men
and
of the fifteenth
domitable jaw,
this soldier of
fierce
his
in-
humanism. In
an engineer and
era.
20
itself to his
the
art,
but has
its
fortune seems to
audacities
and
its
demands.
transitions.
Many
painters
still
yielded
by
little
little
women. Benozzo
Gozzoli, the
He
did
to blos-
work of
Ghirlandaio, whose Old Man and His Grandson
som out
at the
(plate 14)
end
is
become
refined.
crete, the
Italy,
Mantuan
school, personified
by
But
all this
new
toward secular
it
Baldovinetti's
and
graces
Madonna
(plate 9)
who stands,
tall
eyelids,
in the fore-
of a landscape
new mode
own
now
researches, to
devote
its
inter-
play of line and shade through which the personality of the painter
would seek
to interpret itself
element individual
sensibility
bent upon
new
self-
advancing
in
two
files.
is
a magnificent procession
and
were able
to distinguish
in-
Thus we
art is
tellectual,
were
Hera
21
and passionate
of his pillars
and
Calvary (plate
in his
12),
of
weight,
its
its
firmness, even
its
hardness to the
of bodies or objects
itself
mind but
One
feels this
same quality
in the pictures of
the related Venetian school which was dominated, in the second half of the fifteenth century,
gradually given
sists
whether he
depicting
maximum
ment
of
sumptuous and
brilliant richness.
like Crivelli
Lorenzo
had
gilt,
wood, or
which Berenson has
cloth.
The
is
"tactile values" of
flesh,
could
skillfully
visual sense
that
ity
made by
the Flemish
became interested
which were being
These discoveries
artists.
oils,
to
substance of metal,
would open
cloth,
Mantegna and
Bellini,
is
reflected in
remaining
it,
thoroughly
to the
its
hardness,
its
solid
and voluntarily accentuated these qualithe point of giving to whatever they painted
texture,
ties to
The
flint.
down
it
laid
appears,
was
The
with
filigree
and gems
mount
was
set
of silver-gilt
nosity,
22
and
color.
new
To
the rendition of
word
for
it,
Ital-
by im-
movement
to a glance, to a smile
seems
it
on the
to
lip,
on animation,
and
mystery of chiaroscuro
by reason
of
all its
this existence,
in the
beyond the
if
it
fixed
illusion of life,
taught
new
it
itself.
possibilities.
In addition, he
He opened
art
to
He
an abiding
stability.
now
lost
much
its
est
meaning
it
tered
its
modem
universality,
phase.
rival,
Humanism, ambitious
was beginning
serenity.
Already Michelangelo
and insatiable
With him the age of the Baroque begins.
We must look farther north, to Parma,
to find
But
interpret his
artist to
dreams, to
which
make manifest
to enable
that
is
is
his
secret.
He
inherited
certainty of order
Umbrian and
all
of Florence's infallible
also, as
an
added to it
the sweetness and tenderness with which Umbria
like Siena in the century before tempered the
a pupil of Perugino, he
Medici.
humanism
If
is
first
and with nature such harmony and understanding as had been achieved by Greece-
itself
new
life.
to
In his
is
La
Belle
blended
human
form,
combine
in
spirit is conciliatory. It
itself, like
it
seems
was framed
of
mism supplanted
obsessions of
quickened
its
Roman
it
23
in
between
accord
Raphael's
and
Virgins
their
becomes in Correggio's
work a complicity between shadowy foliage and
unashamed carnalities. His successor Parmegi-
who
anino,
mankind
in
own
Even more
deliberately
special emphasis.
than
Correggio
she
oily
rial,
gleam
all
that
its
in the
was
to disregard
Roman
to prefer the
art
assembles
all
richness of foliage
life
and
flesh,
the evocation of a
of refined pleasures,
sumptuous warmth of
who
with his
same
own
to use the
Raphael did
late
robe,
richly
crinkled
Wood, 68"
high.
skilled at
Correggio's
work
this ideal
is,
so to speak, trans-
in
Florence
and
shown by
his
Entombment
manded
a supreme harmony.
Correggio
as serene as those of
translated
harmony
more emphasis
warmth
contorts
(plate 20) to
to her suppleness;
24
and Antiope
He
for
he
stresses
of her body.
The
the orchestration of
If Titian
(plate 17),
all
And
as
he com-
these elements in
if
Titian
more
than
is
gold, Veronese
of a narrator,
Titian,
and
is
also
Veronese was
silver.
More
more superprimarily
3.
Painted
CIMABUE
last quarter,
13th Century
Madonna
Tempera on
of the
Angeh
Florentine School
Hi^HnB!9HBIHH^^^HH
4.
GIOTTO
Tempera on
Florentine School
5.
SIMONE MARTINI
Tempera on canvas,
Hi" x 7"m"
Siene.se
School
6.
FRA ANGELICO[I.387-i455]
Painted about 1430
Tempera on
The Coronation
of the Virgin
Florentine School
7.
PISAXELLO
[13959-1455?]
Tempera on
ll?.i"
North
Italian School
10
H
CD
10
o
o
C/3
CO
(5
in
o
o
_1
U
u
D
co
9.
BALDOVINETTI
Tempera and
oil
Florentine School
10.
North
Italian School
11.
GIOVANNI BELLINI
Tempera and
[1430P-1516] Portrait of a
oil
Man
Venetian School
CD
10
to
CJ
U
.-'
CD
CO
CD
CM
eg
M
4)
c-
H
o>
o
IH
CD
O
CO
CO
<
z
o
w
H
z
in
to
c
c
E
E
CO
CO
c
u
fe
CO
3
o
n
o
o
o
o
CO
o
c
o
fe
tJD
tJD
'
'
_1
J
W
u
Eh
14.
GHIRLANDAIO
[1449-1494]
Tempera and
oil
Florentine School
15.
LEONARDO DA VINCI
[1452-1519]
Mono
Lisa
Florentine School
CO
10
co
rt
>
u
c
o
o
t-H
10
o
CO
>
a
a,
>o
"1
W
o
O
o
o
CD
oo
in
i
a>
to
m
o
g
o
U
CO
CO
in
>
c
O
a
o
in
m
3
O
-a
cd
o
o
o
to
"2
to
b~
lO
18.
RAPHAEL
Painted 1507
48" x
3134"
Florentine School
19.
CARAVAGGIO
Painted 1608
Neapolitan School
20.
CORREGGIO
North
Italian
School
21.
VERONESE
[1528-1588] Calvary
Venetian School
in
o
to
a
=
o
c
g
5
U
oo
>
3
c
o
U
CD
o
o
o
,2
on
to
a.
o..
OS
W
H
<
CO
pa
<
u
hJ
w
Q
oi
10
to
o
c
U
E
g
U
cm
CD
IT5
H
C
oo
06
CO
in
CD
o
o
H
oo
n
<u
CD
>
go
CO
io
o
H
W
o
CO
CI
(i
o
CO
o
to
a
z
o
o
CO
1C
C
d
10
in
o
c
CO
bO
tc
o
CO
'
o
CO
I
u
u
<
u
H
<
i
Z
<
CM
o
CO
ID
U
a>
CO
CD
CI
o
5
O
CO
CD
o
CO
c
0>
5j
Q
CO
Q
<
o
vo
CM
26.
CIAMBATTISTA TIEPOLO
Painted second half 18th Century
Oil on canvas,
67%" x 59"
Venetian School
27.
"
Tempera and
oil
Flemish School
28.
Painted 1432-1435
Tempera and
oil
Flemish School
29.
MEMLING
Tempera and
oil
on panel,
]()%" x 5J"
Flemish School
Commentary on page
161
rH
to
rt
a.
o
c
ID
U
o
10
CO
c
E
<u
10
o
m
i
CO
10
1
TJ
4-*
o
o
o
40
s
CO
g
e
e
U
a
-a
CD
;>
CJ
co
lO
vn
>
Q
Q
IX
<!
w
O
o
CO
ii
fcfi
CS
c
cas
fi
CD
s
6
o
U
00
y.
-a
o
o
c
00
CO
>o
CD
a
S3
BQ
Cu
CO
>o
w
o
W
P
ec
CQ
CO
CI
CO
to
u
01
00
10
b
CO
CO
Pm
"3
00
z
W
EC
D
r>i
CO
33.
JORDAEXS
Flemish School
34.
VAN DYCK
of
England
Flemish School
35.
BROUWER
Flemish School
36.
HIERONYMUS BOSCH
Tempera and
on panel, 22"
x 12'"
Dutch School
37.
Painted
last
Tempera and
oil
Dutch School
38.
HOBREMA
Painted 1664
Dutch School
39.
REMBRANDT
Painted 1654
[7606-7669] Bathsheba
Oil on canvas,
55S" x 55J"
Dutch School
40.
VERMEER
Dutch School
41.
HALS
[1580?-1666] La Bohemienne
Dutch School
'
H
V
,f
fc
^dV<
~f.
Hi
ft.
i
Q
CI
^i
aWvt
ftv
'
11
'
^1
*vj
<i
Mill
IP
J
[
'
M^ift
iff
Q
'
^^^msi^Bpi^^B
I
1
%Ju
i
*
.-
,.
ar,
^^^
;\
\
i
NH
CO
pi
hmmi
io
O
a
to
a.
c
o
u
00
CO
co
b
in
13
01
CO
SP
c
CO
00
CO
00
cs
CO
4
W
<
D
co
14
CO
s
o
u
CO
co
CO
>
CD
4)
o
o
o
C/3
Eh
-5
05
CO
CO
CI
CO
w
U
H
C/3
46.
TER BORCH
Oil on canvas,
26%" x 21%"
Dutch School
47.
REYNOLDS
Painted 1788-1789
24%"
English School
CO
10
o
o
o
(/3
00
CO
W
CQ
<
f-i
GO
z
O
u
oo
1
.
CD
CD
1)
a,
CO
00
CI
00
ci
00
00
Z
O
H
O
z
z
o
33
50.
LAWRENCE
Painted 1792
English School
was
at
Wedding
Cana the
world teem-
(plate 21)
to
In Tintoretto
nomenon
that
transition
He
unchained
and
of action
life
all
its
forces.
modern
times.
From
it
and
creat-
the Venetian
new
The
poten-
municate
painter
to himself.
He was
Saint-Denis, donated by
to use his
had reached
its
its
heights.
By
the
decline, although
like to extract
this effort
from
it.
would succumb
to academicism,
gradual,
would be
unjust, however, to deny the eminent gifts by
which several of them were redeemed: the sustained and wholesome realism of Annibale
the masters
them.
It
drama and
of
coming of Romanticism.
In Rome, and afterwards
the
all
said
vision to
life.
naturalism.
to the ideal
men
tion in all of
and
enlisted in his
He
of concrete
an image of
fact,
it
man
to present
to grapple
reveal whatever
it
one
in Naples,
would
From
this art
and
was
to
stir
a painter's
come
a revolu-
73
city's
saged the
art of Impressionism.
FLEMISH PAINTING
FLANDERS CONCERNED ITSELF LITTLE WITH THE
abstractions
art. It
of powerful merchants
who
delighted in their
prosperity.
it
had a
reality
meant
appearance;
it
meant
it
For him
and the
33%"
high.
rest of
Europe. At
its
By means
of
ing
was
The
result
was
that in an evolution
its
was
the
sown the
little
new
its
The
reality
shape than on
its
substance.
A cylinder of wood
things
were made
of.
it
abruptly turned
inde-
its
height
back on
a new
cision
and
seeds.
pendence, gave
also to
of the martyrs.
relief of the
master
Italian painter, to
by imposing on
Romanesque
reality
Flemish culture.
This
was
western program
encumbrances;
as
of fur or
human
hair, the
wool or
silk,
transparency of crystal
oils
molded by the
whole play of
light on an object; there were no longer any limits
to representation. Jan van Eyck's prodigious
poetic,
life
of
Guardi
and
it
became
(plate 27),
tion to detail.
a mastery of
is
is still
To him
forever fixed in
its
appearance; real-
dimen-
The
feeling of
icon.
is
ity,
static,
further.
come
and changing.
sion of reality
trated on
its
its
mobility.
He
sought to capture
it
in
in the instantaneous-
way
Weyden
(plate 28).
Hans Memling turned this tension into something more tender, something closer to the mysticism of the Rhineland, where he was born. In
Mystic Marriage of Saint Catliarine (plate 29)
angels hover overhead while against the back-
his
During the
fifteenth century
commercial ex-
fail to
encourage
artistic
made
exchanges
and
also;
is
in a different
to another.
phase of the
same movement.
Thus at the very beginning of the seventeenth
century Flemish painting had returned to its true
vocation. It was to develop in unforseen ways
under the hand of Rubens, a universal genius.
While expressing the Flemish genius in all its
truth,
he also integrated
classical Italy;
it
regard their
art,
own
highest virtues
as
their
perfect
mere awkwardness
artists
applied them-
mannerisms.
superficial
Some men, however, remained true to the Flemish tradition. Gerard David's Wedding at Cana
(plate 30), for example, retains the placid sweet-
passed the
last of
open
to
Italian
influence,
men
like
was
fully
Quentin
tradition. His
danger of surrendering
Italian example.
itself
completely to the
The genius
of Pieter Bruegel
He
justified the
Flemish
six-
tail,
is
and
be
75
seems
to
He
all
the
employing
movement
of the
hand
all
movement which
and surge and come alive.
of
its
animating force.
He
style.
He
could set
down
his great
lines,
cunning symmetries,
He
command
in
creative urge.
He
is
the ful-
which
had culminated only in a hollow over-emphasis. In his work it became a triumphal song of life.
The personality of Rubens crowned the rise of
tion,
Flemish
in Italy
art;
complete,
it
but
like
also exhausted
it.
He was
is
too
followed by
imitators. Jordaens,
posure!
As
of landscape in sculpture.
for
pupil, his
To begin
with,
court gave
gains in
His portraits
huge
battles,
forms the
:
flesh of
women
with
it life
in all
Country Fair
its
life in
He
and
incommunicable
soul,
marked the
to lose
its
at the
transition to a
collective character
new
and
age. Art
to
was
become the
is
common
from a
stock.
DUTCH PAINTING
ORIGINALLY THE FLEMISH AND THE DUTCH
schools were indistinguishable. They were two
aspects of the art of the
Low Countries.
It
was not
until the
and
political conflicts
brought about
The northern
that religious
Low
southern
Low
what was
become Belgium.
later to
when
which was
was
painter
The Code
relief,
king
is
of
shown standing
is
somewhat lumpish and clumsily built. But in solitude and isolation, undistracted by worldliness,
man is closer to nature; and in Geertgen's work
known
there
is
of the soul.
art.
aware of
their
own
stature,
were content
to re-
with
its
by the freedom
of pictorial technique that Rubens had revealed.
Teniers, with some monotony but also with an
amused delicacy of touch and vision, an attention
to the subleties of light,
posed
his peasants as
describing
them
as
Smoker
(plate 35),
re-
in
isolated, little in
Toward
Dutch
More than
expand. With a
spirit of
later to
in
to the
Christ,
is
nothing mys-
imagination expressed
which owe
itself in
to religion
obscure allegories
its
Dutch
was
to
ers,
be foreign to almost
all
of the
paint-
But
had
begun
paintings.
to the
Flem-
ish or to the
to break through.
his "morality," as
in his
to
maxim
in
ing
it;
77
and
thrusts into
it,
is
and gradually he
own
to liberate his
sinks
this
toward which
tion
as
human
art
personality, an explora-
to turn
it
To
practical attitude,
its
and morality. By
repudiation of myths,
and
its
self,
it,
art
modwas to
strict reality
Of
two components the more widespread, the more universally evident, was realism.
The greatest Dutch painter at the beginning of
the sixteenth century was Frans Hals. We should
artist.
these
and so had
upon
links
whom
life
in
in all its
which the
his
of portrait painters
art
He fathered
which was
woman
bearing an offering
that line
to concentrate
its
on the individual.
It
is
be-
We feel this
of Utrecht, to
acquainted with
men
of the
North
as yet un-
Italy.
banned them
more
aristocratic level,
its
plebeian
origins.
As a
gravity
and
78
restraint
and
was
less
noisy but
more
themes
The generation
of frequenting guardrooms
and
the
By
was
left in full
occasionally pictured a
wine
glass of
to a
young
young
field.
Painters
officer offering a
it
it
with
would take
do
so,
we would have
offering
The Gallant
(plate 46).
To
into
liance to the
music
which
in these scenes in
refined,
and
in
reality, precise,
rise to
is
who was
the real
and concerts, by
Gabriel Metsu, and especially by the masters of
Delft, Pieter de Hooch and, above all, Vermeer.
In Vermeer we encounter a true poet. Every-
unforgettable quality.
himself; he
is
silent
He
us nothing about
tells
world and
It
is
his heart.
we
how
can confirm
closely realism
of
lesser colleagues
reality.
we
Dou
to
Metsu and
is
who
no longer
fired either
by the emotional
by the personal
a Ter Borch.
whose
Vermeer
or
faith
sensi-
it
of
Serpent-King,
hieroglyph of his
ture,
found
of royalty.
who was
King Zet
in the king's
The
falcon
degree;
its
still life
to
an unprecedented
to that intimate
Heda
ecstasy a
The
Still
all
the grave
in paint-
(plate 42),
tells
us of
kingdom when Egypt was divided between the Pharaohs of the North and the South. 57" high, limestone.
lemon
dead hare.
79
Some Dutch
Landscape painting produced some of the most brilliant successes of Dutch realism; but while the
peaceful Potter may have seen in nature little
more than an opportunity to display his White
in reaction
vate
emotions.
his
The contemplation
most
of
pri-
nature
lost
him-
also
withdrew
soul
new
Now
self in
began
it
into himself.
He
discovered in his
vistas.
two centuries
of Romanticism.
in
advance,
Hobbema,
for
monochrome
and taciturn
sensibility.
Rroken by shallow
upon
sun to shine
his
all
these, in his
dued
From
emanates a perpetual,
colors
silent
no
is
melan-
only
mood
idea or principle.
By detaching
conventions
all
and
ally
If
to reveal
and
it
on
it.
It is
material flatness of
one of the
loftiest
not
seeming
Rembrandt.
He comes
80
at the
end
of the age of
humanism,
ness,
example of the wooden reliquary statues of the
Virgin and Child common in the twelfth century in
the Auvergne. The head is movable, and in the breast
is an opening designed to hold relics. The primitive
rigidity of the figures is softened by the rounded modeling and the rhythmical lines of the folds. 33" high.
art.
His work
fine
painter
pose of his
its
first
New
Testament.
is
whose
Old or
most
traditional religious
themes he
inter-
standing. In
perhaps
very
its
least,
him
Christian inspiration
is
given
whether he paints
nudes, or Biblical
portraits,
age of individualism.
bues
it
From
contemporaries.
He
offers us,
may be
it
by
I,
Sir
Godfrey Kneller.
century that
It
native masters.
At the same time that the aristocracy of England was finding expression in Sir Joshua Reynolds' portraits, the
middle
class
was finding
his
added,
in his
long series of
is
art.
Rembrandt's mir-
immersed himself
in his
mence, according
to his inspiration.
Rubens
left
Flanders
al-
ENGLISH PAINTING
ENGLISH PAINTING WAS THE LAST TO
appearance. Hesitating to assert
itself,
MAKE
ITS
for several
century,
its
its
with
I6V2" high.
filigree,
The
Virgin's
crown
is
of gold,
is
81
work by Reynolds,
his
47).
man
arrange
human
of
Reynolds ushered
this
style
trait painting.
to govern their
work by the
(plate 50)
this
Sir
formula to
its
Thomas
highest
had a great
rival in
personal painter
Watteau's
visit to
dis-
To Reynolds'
virtuosity of
ness
who were
to
of the eighteenth.
The marble
was
tomb
nude
of
Pope
Julius
II.
The meaning
of the fettered
unclear.
As one
how
and indeed
all of the great English landscape painters, have
played in the creation of modern painting. Ronus realize
ington, delicate
values,
and attentive
to the
most subtle
creators
who have
monies.
He makes
tion of Hals
Hogarth
82
is
and
its
har-
and Velasquez.
unfortunately not represented in the
Rubens, and
in
were
free
relief
SPANISH PAINTING
THE LOUVRE OFFERS US A
of Spanish painting with
SWEEPING VISTA
BRIEF,
its
main landmarks
indi-
peripheral
slow in asserting
its
independence.
Germany,
like those of
tried to
Its primitives,
borrow
their style
first
fell into
Italy,
primitives
own
its
was beginning
to seek
path.
be drawn
two
in
liant sunlight
directions.
makes
evident while
it
all
The implacably
bril-
seems to encourage
men
to retire
mysticism.
explore
the
whether
living
of
But
fills
art
burst
into
who found on
the burnt
soil of
by
it.
Toledo a reminder
remained uncomforted
painting
let
Winged
loose
and the
him which gave
it
developed
in
his
his
and forged
in the
inward
fire
of his soul.
modern
Three
portraits
hallucinatory
example
seem
to
Covarrubias
be phantoms
of his imagination.
he
was still engaged in reproducing reality, El Greco had the audacity to distort
in order to express. Furthermore, having been
trained in Venice, El Greco brought to Spain the
technique of Titian and Tintoretto. This was pre-
was the
art,
first
a century
when
art
83
by Zurbaran,
eclipsed
whom
of
which expressed only one aspect of Spain; retaining this strength, Zurbaran combined it with a
spiritual greatness which his two predecessors
lacked. What in them quickly degenerated into
a carefree truculence
became
concentrated firmness.
in
Zurbaran a
strict,
to unify
his
fix
Roman
art, this
art
23" high.
whose
Few
break away from
which the
literal imitation
less
manner
reality.
it
still
dominated,
Seville
were
faithful to the
example of Cara-
him they were not only folmodel but also one which did
selected
sick
people,
to
its
of these,
blacksmiths,
dwarfs,
They remained
tradition
by presenting them
or
in the
classical
form of an
in-
The
was congenial
and
life;
lowing an Italian
realist.
where than
its realistic
vaggio. In following
much
today: an
drunkards.
not so
it
lays his
color.
is
think of
of expression.
and
unsurpassable resources.
means
almost say,
dares to
ploit this
is
artist
No
chief merit
fidelity as its
This
we
marble sculp-
man
One might
Bust of Dietisalvi Neroni, Florentine patrician and condottiere. Signed and dated, 1464, by Mino da Fiesole
(1431-1484). Inspired by
in Seville.
in the subjects
its
he chose: he discovered
own
sake. It
was no
but
was
it
was an end
in itself.
By his own
definition
it
trasted light.
Queen Mariana
of Austria (plate 54) shows to what an extent the
spectacle of a woman royally attired can be made
a source of visual delight by the mere juxtaposiof the eye. His great portrait of
and during
his
He
applied
it
to cruel scenes of
martyrdom,
men, and
to such
and
jovial ragamuffin of
84
and a
red, all of
from
his visit to
Madrid dazzled;
all
that
is
who
returned
was
to
it
be the
best in painting
up
Velasquez
career to be-
come the
cause he was
much
patriot Murillo
The
citv.
less of
remained
their
in
heavenly graces,
Reformation, a
full of
spirit
pink cherubs
One might
and popular
we
tvpes.
turn,
his deafness,
A.D.).
Goya was no
Roman
Woman
Grey
in
apply
he used
this
it
to depict his
own
But by the
religious fervor.
and
violent,
to the
its
fifteenth century
it
German temperament.
enough
to give
German
school in the
crude color-
which
en-
painted in 1493,
Self-Portrait
an admirable
is
in style,
(plate
likeness,
but entirely
subject's
medieval Germanic
and
her bour-
materialistic outlook,
imposed a
were
which was
with
35)a" high.
geoisie,
Rome.
in
well
of Spanish
GERMAN PAINTING
ing.
fifteenth century.
never
technique to
his passionate
it
to
art,
Empire
bare.
(plate 55)
became
familiar,
way
is
all
the
German
painters
cumbed,
of Faust
provincial character
like the
in
such a
as to lend to the
minutiae of realism
incessantly writhes
is
itself.
The
85
experiences in
But
Diirer's philosophi-
later,
left its
more
in a
its
which
is
so typical of the
to achieve a
life
breadth of view,
Germany
57),
and
whom
he has
Erasmus.
his
left
A humanist by tradition,
he was also
human
countenance.
He
brings to
it
the exact
influ-
superficial
of Jealousy,
as
populated by savages
Silver
But
it is
in por-
moving sincerity
and achieves both perspicacity and depth.
No mention has been made of Altdorfer, Griinewald, and Baldung Grim, among others, but the
few masterpieces we have considered should be
traiture that he, too, discovers a
sufficient to
to
German
flowering.
its
FRENCH PAINTING
FRANCE OCCUPIES A VERY SPECIAL POSITION IN THE
development of European painting. Thanks to her
central situation, to the numerous frontiers which
connect her, by land or
sea,
with
all
of the major
by
a fertile soil
and a gentle
spirit of
harmony and
The
times.
86
17%"
simplification of
form
relates
own
ing
it
with emotion.
It
it
classicism,
it
trust in its
own
From
senses.
all this
derives an
when
it
it
new
direction.
It
is
half-century that
last
is
partly ex-
As a
result of a
stubborn reaction
which persisted
The Flemish
civili-
of the
and
it
was from
and courtly
secular
its
inspiration.
the principal
The
school.
Portrait of
is
per-
Martin (plate
58).
He
con-
is
in existence. It
realistic
intellec-
tual
art:
a deep-seated
marked by an intimate understanding between man and nature, between the inner life and
the outward appearance, between thought and
realism
feeling. This
discreetly
The
element
moving
is
great,
anonymous
Master of Moulins,
the
who worked
Duchess of Bourbon. In
by
known
painter,
plate 61
the
at the court of
his
)
as
Saint
we
Mary
find a
more
centers.
At Avignon,
in
form gives
it
Its
decisive concentra-
a plastic intensity
which
is
almost sculptural.
On
The highly
abstract simis
combined
France broke
ders
and
fell
masterpieces,
off
and even
freely imported.
To
Italian
Italy. Italian
masters,
were
who
87
tainebleau
came
new
influence
now
acquired a
and added
to it its own sensibility. The harmony and plenitude of forms and the plastic mastery which were
acter of delicacy
omy,
in
which
new
char-
Italian art
form,
its
more slender
and more caressing lines, creating an art of enchantment, as seen in the Venus
and the Goddess of the Waters (plate 63), by an
its
subtler
unknown master
and applied
art
it
the North
is
Northern
human
face.
confirmed by
In the
work of these
and cover) naturalism loses its tension and is animated by a flame of the spirit; an implicit excite-
more
tender,
more
work
of the
end
is
German
and
1
naivete. eS ^" high.
delicate note.
Mathieu, of
and Northern
to acquire the
whom
Louis
is
but
the picturesque.
to
its
of a
had already
The France
of the cathedrals
gift of
The new
art
combin-
was characterized
was not
ing the love of the real with the most ardent impulses of the soul.
toil
religious
La Tour's scenes
are
whom
the
family holds
its
he
religious episode, a
Magdalen or
a Saint Peter, or
like
all his
and
of Italy
When he turned,
to experiments
with classicism, he
approached maturity
Fontainebleau, classicism
whom
contemporaries
his
But
of the century.
it
was
who
to reach
highest
its
spent almost
all their
rain.
In Poussin
we
Norman
France. Born of
of
and
sap, in
by the genius of
fertilized
Roman
art,
antiquity.
He most
skies.
a terrain
Out
of the
Triumph
of Flora (plate
65).
Claude Lorrain
gave free
of
rein,
might be taken
its
amongst
is
some-
(plate 68).
highest significance by
its
All of the
first
too, rigor-
caressing light.
religious paintings
He,
his trees
art
These
sensibilities.
French
penter.
same
qualities.
charm
is
lets
sea,
what we
Poussin's disciples in
as the
cated
Louis
He
ments
had appointed a
he personifies the
Arnauld d'Andilly
worthy successors
his
Death
of
(plate 69),
to those of Clouet.
which are
Le Sueur,
in
achieves
used his
his great
Eques-
power
of
Under Le Brim's
of Louis
in
France
at the
89
fifth century B.C. A frieze of enameled brick, representing members of the Persian
guard of ten thousand men. In this complex art of glazed tile and brick, perfected in the Near-East,
the color, modeling, and imagery of each brick must be exactly calculated for its place. 72" high.
reason,
left
us
all this, it
Watteau,
was
to take as
generally
its
and against
And,
order
in
recognized
as
the
real
life
with his
younger
for example,
rival, Largilliere,
en-
and achieve
of tradition: a struggle
to France,
Rome, he
home
art.
dreamed
of go-
He began
which he treated
realism that links him with the
Academy,
that bastion
with a direct
between the
Poussinistes,
brothers
who were
do
grandeur,
bition that
to set sensuousness.
Le Brun's
Mignard have
lists in
was
artists,
XIV
it
to
Louis
so stifled,
painters
was
was
it
virile
to
it
was
pure
classicists
that
had been
in
He
and
dream
was
to set
90
and composition, it
the most dazzling and unrestrained fire-
experi-
of the
isle
He
laid
works
as the
soul,
modern
his
when
was
between the
split
first
sight
era.
1789. At
some
of his brilliant
manuscript note.
He
it
who
de-
and
complished
domain
this unity.
of the former,
Boucher ac-
the
new
taste.
Boucher
As
naked goddesses,
chubby
as
and
his
nymphs
to
as
sprightly Cupids.
of classi-
and rose
tints, to
bliss.
vivacity.
his Venuses,
and
to share their
all
in his
borrows
ness
frisky;
employs painting as a
sort of
alchemy: he trans-
mutes substance; he
chasm opened
at its feet
Fragment of the
fall
into the
by the Revolution of
whatever
is
stormy waves; he
stirs
everything up like a
solid
fol-
volatilizes
Phidias' direction,
91
like
fluid,
(1313-1292 B.C., XlXth dynasty) and the goddess Hathor. 89%" high,
Hathor a necklace, which is the emblem of the goddess and the carrier
transmitted from the goddess to the king by contact.
41W
wide.
The king
of a protective fluid
He
receives from
woman
the universe.
What became
things. If the
excesses,
Chardin,
let
his pictures.
ing."
and
from what
in so
the realism in
brought to
fife
a table a
92
few pieces of
fruit,
some game, a
glass
who
in the next
it
not
doing he devi-
Let
is
which
is
in
this
ates
He
elegant society.
of the fam-
their
hand
paintcolors,
blended
be said of Greuze,
turv.
He was
England, to
soon
tell
however,
led,
like
Hogarth
in
compete," as his friend Diderot wrote, "with dramatic poetry in moving and in instructing
us, in
with
he visited
of
that.
lated
his
whom
it.
new
by the excavations
paintings
still
at Pompeii;
and though
and
some
its
Two
tin
rivals,
Quen-
reflect in their
Madame
portrait of
fragile
But he was
just as
philosophers, for he
good
lit
up with
a smile.
at painting soldiers or
knew how
to
probe into
souls.
he
said,
"and
but his
art
perhaps
is
less
liance. In his
portrait of
more
more
tender,
complacency
if
also
attentive,
with
with
less bril-
woman in his
examplehe discovers
he
male
sitters.
He was
primarily concerned
more
attentive
was about
to disappear.
The eighteenth century, now disdainful of elegances, demanded from the painter increasing
probity, later to develop into severity. The worship of nature, which at this time was being
preached by Jean-Jacques Rousseau, was to result
in
stricter
More and more the fantasies of Fragonard were replaced by an exactitude that took the
Dutch school as its model. Fragonard himself had
scrutiny.
of sometimes seek-
former king.
93
of his canvases
Western
art could
now
was
Its
remaining task
be caught by the
pictorial reits
shifting
became
and
its
new
set a
tastes
ban upon
both
in
form
moral func-
tion;
this task.
One can
its
business
was
to glorify virtue;
inter-
grandeur.
The France
affinities
irresistibly to the
The Harbaville Triptych. A Byzantine ivory carving of the tenth or eleventh century, representing Christ
enthroned between Mary and John the Evangelist; in the little disks on the upper border are Jeremiah, Elijah,
and Isaiah; below stand James, John, Peter, Paul, and Andrew. On the side leaves are saints of the Greek
church, including four in military dress. By such ivories the classical Greek formula was transmitted to the
European mainland. Central panel, 6%" high, side leaves Vk" high.
94
it
example
It
devoted
at
itself to
Pompeii and
the imitation of
up
new
it
fell
into
all classicism,
Le
its
sculptures.
he surpassed him-
self;
he tolerated no adroitness
able
him
into academicism.
Brun
From
its
and succeeded
in
summit
of his art
producing unforgettable
like-
nesses.
and Sabines
Romans
to
influence of their
masses.
He
added
to
them
a col-
little
same harsh
sacrifice,
expressed the
strength.
In his portraits, however, and in immense Napoleonic scenes like the Coronation, David, no
petus.
painter, Prud'hon,
at the
passionate
at
its
commence-
admirer of Correggio, he
It
was thus
that he
Copper basin incrusted with gold and silver, called the Baptistery of Saint Louis. It was believed to have
been brought from the East by the crusading king, Louis IX, and was used for the royal infants since the
seventeenth century. Scenes of hunting and feasting decorate the surface. The artist, Mohammed Ibn el-Zain,
has inscribed his name. Probably Mameluk work from Syria or Egypt, fourteenth century. 9" high.
95
*?^
Polychrome faience
Palissy
plate. This extravagant design of sea-life is attributed to the French ceramist Bernard
1510P-1590), famous for his daring experiments and curiosity. 24" long.
his
who
starts
By
in
from
domi-
Amidst the
ligence
nineteenth century.
disciplines of his
not, in fact,
it
founded a new
its
merely
own
based upon
and
encouraged
all
of himself
and
fired
Romanticism.
new
David had already forsaken the heroes of antiquity in order to celebrate modern heroes in
society,
re-
blossom was
Here we
find revealed
first
to
art.
Romanticism.
96
life,
insati-
nese's
51.
EL GRECO
Spanish School
52.
ZURBARAN
Painted 1629
H6%"
Spanish School
53.
RIBERA
Painted 1652
Spanish School
54.
VELASQUEZ
Painted 1652-1653
Spanish School
55.
GOYA
[1746-1828]
Woman
in
Grey
32%"
Spanish School
56.
Painted 1493
DURER
Tempera and
on parchment, 22K" x
German School
1734"
57.
Painted 1539
HOLBEIN
Tempera and
German School
Commentary on page 168
58.
FOUQUET
Tempera on vellum,
6)4" x
4%"
French School
59.
MALOUEL
(?)
Tempera on
panel, Diameter
25&"
School of Paris
00
CO
e
o
U
i
10
O0
CO
co
"3
c
ri
CU
e
o
o
E
o
CO
O
a
P-,
C
o
c
bO
'>
<
o
O
00
-a
CB
w
z
<
z
o
Z
z
p
d
CO
61.
MASTER OF MOULINS
Painted about 1495
Tempera and
oil
on panel, 20Js" x
15Ji"
French School
62.
JEAN CLOUET
Tempera and
oil
French School
63.
UNKNOWN PAINTER
[16th Century]
Oil on panel,
51%" x 38"
of the
Waters
'
School of Fontainebleau
CD
to
E
o
10
CO
C5
ID
CO
CD
C
cd
J3
CO
tq
rSP
CO
cc
CO
C5
<
W
00
1-
ib
CO
u
S
CO
CO
3
o
.o
o
o
CO
o
c
1*
E~c
>o
CO
CO
"4
a
>o
CO
CO
O
O
PL,
io'
CD
o
to
c
CD
E
c
U
CO
10
O
co
o
^3
o
a
co
c/3
oo
CD
O
o
CO
<
ec
w
Q
U
CD
CD
o
t
>
to
a
O
S
s
o
u
I-
co
>
C
rt
U
a
o
o
CO
CO
^3
C/3
fa
,tj&
c/5
o
a.
o
Kl
O*
o
CD
M
i
Oi
CO
I
Z
D
(X
03
W
hJ
co
68.
GEORGES DE LA TOUR
Painted about 1645
Oil on canvas,
53K"
39%"
French School
69.
DE CHAMP AIGNE
Painted 1650
Oil on canvas,
35%" x 28?"
French School
Commentary on page
17]
rO.
LE SUEUR
Oil on canvas,
Raymond
76" x 5 Us"
Diocres
French School
71.
RIGAUD
Painted 170]
Oil
XIV
French School
t/3
10
o
c
o
c
Ik
bj
01
W
H
CI
to
U
co
11
>
1>
PL,
o
o
o
</)
o
a
a>
o
ft
Si.
t>
K
CO
<*
ci
CO
H
W
ec
u
<!
CO
74.
CHARDIN
Painted 1739
French School
f>1
o
a
to
o
a
o
00
o
5
o
CI
t11
(5
o
o
o
.!
CO
ttl
=5
N.
w
K
D
O
PQ
76.
QUENTINDELATOUR
Painted 1755
[1704-1788] Portrait of
Pastel on paper,
68%"
x 503a"
Madame de Pompadour
Commentary on page 172
French School
77.
PERROXXEAU
Painted 1749
[1715-1783] Portrait of
Oil on canvas,
Madame
39%" x H'/z"
de Sorquainville
French School
l^
to
a
a
a
o
>
a
a
o
C
O
2
s
<u
CO
o
o
CO
O
s
CQ
CO
N.
O
<;
fa
cd
a
o
G
<D
s
s
U
c
CM
CI
in
o
5
O
I>
73
o
o
o
00
s
00
-5
00
g
a
CSS
so
00
>
<
Q
ci
80.
PR U I)' HON
Painted 1805
70S"
French School
II
CO
tI
CO
to
c
o
4)
CO
CO
CO
CO
>
CO
CO
CO
o
B
CO
ao
"1
I
Cs
00
00
O
00
82.
GROS
Painted 1812
French School
83.
GERICAULT
Painted 1812
76>V
French School
<u
to
c
<u
U
oo
CI
ft?
O
CO
00
O
o
o
on
o
a
=0
w
Q
>*
00
1*
to
C
u
E
10
10
00
-3
fa
E-i
CO
CO
CO
'
D
<
W
CO
co
cc
W
o
Q
O
a
H
10*
CO
in
1-
U
M
CO
CO
CO
I30
00
tit
N.
3
CO
CO
CO
87.
COROT
Painted 1871
French School
U
CI
CO
ro
01
*c
CO
(
CO
C;
Q
CO
CO
1C
I
W)
00
s
cd
CD
CD
0D
oo
O
(J
t-r
c
o
U
o
00
q
sg
CO
CD
00
e
'3
Pi
o
o
o
00
o
c
U
to
o
c
o
-a
CO
00
00
*-H
O)
CO
00
W
Z
o
o
CO
to
C
S
5
U
10
CI
>
C
n
o
a
o
00
0)
fa
y
oo
o
s
fa
0
O
fa
fa
O
I
00
H
W
Z
o
CO
to
U
00
O
CO
CO
oo
o
o
o
00
CO
o
CO
CO
w
z
y.
[SI
u
oi
CD
CO
CO
rt
>
G
cs
o
CD
00
OS
00
*
d>
o-i
06
00
CO
G5
94.
RENOIR
Painted 1893
[1841-1919]
Two
23K"
French School
95.
VAN GOGH
Painted 1890
Oil on canvas,
26&" x 22/2"
French School
96.
SEURAT
Painted 1891
Oil on canvas,
70%" x 58J4"
French School
97.
GAUGUIN
Painted 1898
'
Oil on canvas,
55&" x
Sol's"
French School
00
U
55
X
01
o
5
O
00
no
o
c
00
5:
CO
00
00
o
W
Q
00
05
U
6C
si
v
S
g
o
10
o
u
o
c
01
.J
cs
4
vO
20
--<
U
w
b
<
w
O
D
O
H
I-
SO
3
'J
CO
I-
r3
i)
13
a.
o
o
o
a
^f
C/3
fire
To
tories
painted immense
too,
away by the
intensity
and makes
intending to do
Gros,
so,
who
his colors
Without
flags.
regarded himself as
Yet for
croix
plate 84 )
all his
was
by
He
can be so designated
impetus of his
He
is
the culmination of
dividual soul.
champion of
gave
tradition,
own
his
by Gros: but he
of
endowed with
definite im-
men
in
frantic
career,
One man
condemned
wrecked
the Raft of
is
sailors
cavalry officer
smoke
of battle. He,
which
his
Medusa with
To
itself
to reveal
of the in-
of
like
he was
literal reality
and
Considering himself
largest
its
ship-
movement
onlv
J
all
of Romanticism. In
him we
after
find not
was
to
come
it.
There
is
no more
halls at the
to Courbet, testify to
an
massive strength of these paintings and the frivolous graces of the eighteenth century there could
be no stronger contrast.
After Gericault, Delacroix, his friend and his
junior
by
several years,
agination almost
unknown
slow in recognizing.
French
in
his ability to
make
He
is
one of the
man
is
loftiest
of the
same
He dominates Romanticism by
of a picture an instrument
Dela-
art,
tensions, passions,
as
if
by means
and torments. In
by
of music,
his
work
is
especially,
he invents
tonalities
and harmonies
as
it
Made
ornamenta-
of oak,
it is
147
and
of refinements
of
in his
the
of
nineteenth-century bourgeoisie.
In
his
new
future.
He
from "cheating"
the
in
restored to
it
of a Flemish primitive;
conquest of
ture
it
with the
skill
we have
its
purest
the aims of
and
which
tells
most impossible
most impossible
to transpose onto
canvas.
The
new
was
was
in-
definition the
an
He had
when
mastery of
his principles
comparable.
he obeyed
reality: the
it
life
it
offered
re-
Chinaman
lost in
"He
is
said jokinglv.
By
conflicts
and
Delacroix,
was
most
was Corot.
descendant of
he
felt
that a landscape
logical presences.
He
liked to imagine
Homer
Door
of a burial chamber.
candelabrum
a glimpse of
148
is
Palestine,
Roman
epoch.
mental
as well as sanctifying.
35%" high.
for
man
to multiply his
strictly
The other
revelation
was
of a social character.
was
al-
truths, in a
movement
anal-
From
realism, painters
were
The
with
Theodore Rousseau. The last gleams of Romanticism, which now had had its day, gave this scrupulous and passionate landscape painter, inspired
by the example
choly.
he
pantheist,
everywhere:
in his titantic
felt
the presence of
God
in
Oak Trees
(plate 85),
and
in the
more a
disciple of
of Impressionism.
Rousseau's friend, Jean Francois Millet, shared
his feeling for nature. In
his
some
of his landscapes
and serenelv
Ivrical truthfulness.
in the
But
people
in Millet's
is
evident.
Angelus and
his
no
less
if
in
compensa-
his lithographs in
more deliberately
to the people.
Like Millet, he
and imprints on
it
an urgency, a
dumb
violence
by an inner
thrill of lyricism. Both these painters remind us
that Romanticism was not yet extinct, and that
that,
is
traversed
it
of a subjective, per-
they, too,
owed something
of passion,
was beginning
to
it.
to lose
its
meaning
for
them. Daumier, especially, was no longer interested in the peculiarities of the individual.
What
stinct.
He
149
On
aspect.
tivity,
as
double
its
one saw
it;
Roe-Deer
To
life.
to
is
a rustic
a Forest
in
on
making
in
it
as
smooth
as
corrugated streaks.
enamel or brushing
He seems
to
combine
reality or
transformed
rate
real light.
By compelling
canvas
his
same sensations
painting. With
was
own
in-
and denature that vision. However accua picture might be, it was always inferior to
be discarded.
terpret
side
to
lect,
by
its
were
it
on
his
artist
in the
this
all
person
who
looked
object
the
Impressionist
at the
researches.
began to
give way to Impressionism. Edouard Manet, an
admirer of Courbet, strove to develop even fur-
succeeded
It
new
savor and
and espe-
first
paintings his
90), for
example-
from
extraneous concerns.
He
painted in order
He
took an
in-
experiments of those
upon itself. What, by definition, was a painter? A hand capable of reproducing upon canvas what the eye perceived. The
turn painting inward
150
lic
in
turies before,
mastering light
it
had
finally
of per-
Such
in
came
its
lighting,
he
Bouen Cathedral to
such a degree that it appeared different to him
at each different time of day. He multiplied and
diversified his image, thus inaugurating what has
been called the "series" style of painting. Becoming more and more powerfully lyrical as he grew
older,
Monet
of light
lost
and the
Millet,
who
which dance
boat (tomb furniture). Egvpt, Middle Empire, 28" long. This model of a pleasure boat was probably
designed to give the deceased the illusion of a voyage on the Nile. Crouching in the cabin with curtain raised
to admit the breezes of the river, he inhales the perfume of a flower; his servants kneel before him.
Wooden
figures of peasants.
Sisley,
"Impressionist"
is
a designation
to the pur-
93).
which includes
to develop
it
itself is
is
less as
Degas and Lautrec broke away from pure Impressionism mainly because they were attached
to old values such as draftsmanship which
an isolation of sensations of
light than as a
had elements
the greatest of
The son
of both,
whom was
voted
much more
Degas
nature and de-
it
because they
were indebted
school began
They
to Impressionism, as
was
new
art.
Paris, the
art
to insist
Though
had
fined
had
more
ually,
much
do with action than with light. But gradas he grew older and his sight began to fail,
to
he allowed himself
to
be seduced by
powdery shades
color. In
of electric
his ballerinas
dowed,
and
short-lived
Toulouse-Lautrec.
with a
is
was
En-
still
posed to represent
that
reality,
it
Impressionism believed
its
reality.
But
if
it
To
this
and
colors
combined upon a
surface.
251
is,
Already,
seemed
to
time
the
at
when Impressionism
its
its
disciples
for
were
Let us turn
realization to
same
joyful
formal qualities.
form.
sovereignty and
its
splendor:
woman, her
life,
flesh
To make
its
spirit, to
bestow upon
architectural laws
Rubens or Fragonard before him, realized what an astonishing image of life could be
supplied by color, especially by the color that Impressionism had intensified with all the brilliance
of light. He did not break away from reality, since
the passion for life by which he was animated
lyricism as
in
dreams of the
it
thought.
human
first
per-
to record the
order proper to
men who
to their
to the Dionysians,
whom we
have
just
encountered.
The
first
that the
of these
power
tense luminosity of
ism were at
all
of fervent observation
modern
art.
artifice,
he
no
less,
and
in
from the
inspiration
first
own
acute observation of
he pursued
his
light
with
human
dream
be-
of fleshly
his
was
accomplished what he so well described as "putting Poussin into nature." His Mediterranean
Mont
continually enhanced.
further in the
same
life's
direction.
intensity.
But
where Renoir had found only a blossoming splendor, van Gogh found battle and drama. Life,
whose gigantic fermentation he perceived within
him and around him, overwhelmed and crushed
him.
It
was
to leave
him broken,
Gogh
to hurl
him
him
into
to suicide.
plate 92 ) or
by an
early death,
embarked upon
a related ex-
on
by
a prism
side
by
side
giving
turned
them maximum
he
harmony
He him-
rather, realized
appearance that
self
inhis painting. In
it
had
it
the world
in his nightmares.
But outside
152
toward Fauv-
Perhaps
it
most challenging task: of unifying these new discoveries. Perhaps it was he who did most to free
painting from the errors into which Impressionism might stray and to indicate the directions in
which the new art would find its own truth. Reso-
lutely
was not
to
The purpose
reproduce visible
reality,
But
cific.
in
he was able
vases like
where he died,
(plate 97).
He was
to
and
lines
freely
which the
colors
on
his
suggested, in fact,
artist
would develop
realistic exactitude, or
ume. The
It
artist's
even about
aim was
beauty of arabesque
relief or vol-
in his lines
and of harmony
in his colors.
We
that
it still
had immense
could replenish
al. It
tunity such a
program provided
in the
spontane-
of
its
This
is
one of the
human development.
many lessons the Louvre has
in
With an
to think, feel,
in a
would transcend
felt,
he sought truth
itself if it
itself
overwhelmed and
free us
in
have thought,
the past
dences of
Louvre,
War
tion.
His
is
an immense treasure-house,
loftiest
it
To make more
purest springs of
certain that he
Gauguin
distance,
left
art,
remote from
all
convention,
first
sensibility,
new
assurance.
The Louvre
triumphs of the
own
orientation with
unknown
to
The
exists
late fifteenth
small version of the heroic equestrian statues of the Benaissance, which revive a Boman type.
Vigorous and beautiful in craftsmanship, such small bronzes are now highly prized by collectors. 13" high.
J 53
Commentary
COVER
CORNEILLE DE LYON
[1500P-1574?]
sixteenth
and
and
origin
settled in
intellec-
is
PLATE
artistic capitals of
Dutch
his
and seventeenth
Clement Marot
objects,
movement.
of
Portrait of
still-life
CIMABUE
[1240P-1302?]
on
whom
The Madonna
of the Angels
is
collective
ground.
It
ists
and poets
nearly
which served
as frontispiece
to
all
made
the great
human-
the acquaintance of
It is
how-
also possible,
Marot's numerous
one of
existence of this
time of Francis
I,
imprudent, he
He
of Navarre.
and
artist,
it is
and what
fact,
is
East,
some
definitely attributed to
city,
with
its
later critics
whom
volumes.
Queen
mine what
drawing or engraving
to
Cimabue
Duomo
is
a mosaic
in Pisa. In this
felt
flat, styl-
was revealed
and later, in
of the Angels
is
now
regarded as a
which
rather late
was obliged
came
to flee to
too severe he
Geneva.
moved
When
to Turin,
where he
gels'
died.
scroll
spirit of
is
traditions.
heralded in the
FRONTISPIECE
step-like
its
QUENTIN MATSYS
PLATE
A new
man and
terial
as
it
his surroundings, in
and empirical
had
The
existence,
interest
triumphed
in the
GIOTTO
[1266P-1337]
Netherlands
garded as an opportunity
to paint
still
abandoned any
life
religious pretext:
him
in
he paints
Antwerp,
sur-
own
light as reflected
In
its
glass,
and the
stones.
154
legend has
it
covered by Cimabue,
in Italy.
ma-
this
tion
in
rises
[1465F-1530]
movement which
But
in
its
vivid
who found
of
of this
renowned
dis-
"Cimabue thought
and now the cry is Giotto's, and
it
name
over painting's
field;
eclipsed."
Roman
He
dramatic
effect;
brated the
and
number
in a
life
same time
We
rocks of Yerna,
the
among the
this picture
into retreat; he
Innocent
III
from the
life
left,
Pope
interest in
show
episodes in the
Innocent
life
III sees
is
a Franciscan vari-
and Paul; he
nephew from
raises a Cardinal's
fire
by the
SIMONE MARTINI
saints'
the influence of
Church
of the
left:
PLATE
harmony
God.
exquisite
its
The
wings of a seraph. The predella below the central panel represents other scenes
in adoration.
when
tion to detail
more precious
to
by angels; and
last,
[1285F-1344]
PLATE 7
the early work of this sienese painter is markedly Byzanhowever, by a Gothic grace which he admired
PISANELLO
[1395P-1455?]
tine, softened,
gnon
in
Summoned
to Avi-
whom
Simone continued
to
his
Pisanello
though he retained
Italy,
his
home
its
was
The
precious
little
col-
Soldiers, executioners,
in their grief.
Women
Simon
is
of
and early
late fourteenth
The
menaced by
Cyrene
a centurion
who
refuses
The
coifed in
what
PLATE
The
ity of faith.
sleeve
and a
who became
prior of his
medieval
and precision
is
unknown. But
like
was a princess
of the Este
[1397-1475]
Battle of San
friend of
Romano
many leading
striking eques-
chrome
saints, prophets,
and
when
as
UCCELLO
virtuosity
is
PLATE 6
in
of
family of Ferrara.
of the Virgin
same
identity of this
suffering Christ.
The Coronation
work
justifies
[1387-1455]
this
FRA ANGELICO
fifteenth centuries.
in
dral of Florence
is
in the
Cathe-
in order to concentrate
more
strictly
mono-
on problems of
155
From
his
for dark,
warm
tones that
is
one of a
is
The
to
produce decorative
Battle of
San Romano.
It
is
already attacking.
The
first
line,
placing of crests,
mathematical
could produce
new
later to
become the
method
and
traits,
of his
background gazing
unknown
This
subject's fierce
energy and
known
air of
left.
command,
his
was one
position that he
lip,
have led
to the sup-
style.
and movement.
The
who
their
them-
enemies were.
PLATE 11
PLATE 9
BALDOVINETTI
GIOVANNI BELLINI
[1425-1499]
Portrait of a
[1430P-1516]
Man
efforts to liberate
known
generally agreed to be
Born probably
by Alessio
He
also,
The
made
in
mixing
oil
its
the
new
were
artistic currents
subordination of sentiment to
spirit of
Doges outside
The
first
Two
events
his brother-in-law
and
trans-
show a growing mastery of modeling, perspective, and composition added to his primary interest in light. The second
event, in 1475, was the introduction to Venice of the Flemish
technique of
oil
Church
Bellini in
such works
famous
pupils, Giorgione
and
Titian,
were
which
to bring to
perfection.
The
Portrait of a
Bellini painted
Man
is
his
model quite simply, ignoring decorative accessories and concentrating on the essentials of physical appearance and psy-
PLATE
city of the
Baldovinetti.
in Florence, Baldovinetti
it
tine traditions
lO
the spectator by
sitters are
inexorably linked to
ANTONELLO DA MESSINA
A
[1430P-1479]
Condottiere
PLATE 12
we do not know
da Messina came
came
the
first
precisely
how
Italian to
oil
and be-
unknown
in the
156
MANTEGNA
[1431P-1506]
painting,
Calvary
the renaissance humanists' passion for antiquity is reflected
throughout the work of the celebrated and influential North
Italian artist,
of
talent but
little
an excellent
copy
classical sculpture.
tani
Chapel
at
Even
made
instructor,
work
in
Eremi-
his drawing.
PLATE 14
GHIRLANDAIO
[1449-1494]
His Grandson
war-
the last
in
artist
his pupils
Through
his
well.
its
horizontal bar
is
paralleled
by the
if
color.
fresh, agreeable
details,
formed
Trinita
daily
he often
trans-
life
apparent in
all
unknown
old
this
man
double
is
The
portrait.
who
with confident affection. The area of light from the open win-
dow
is skillfully
PLATE 15
PLATE 13
LEONARDO DA VINCI
BOTTICELLI
A Lady
Mona
[1444P-1510]
and Four
his early
Lisa
Allegorical Figures
and elegance of
[1452-1519]
he
gist,
tect.
first
A Lady and
fine,
nervous precision of
whitewash
1459
Lemmi,
one of a pair of
fres-
Botticelli
to
the Tornabuoni
woman
of the
its
his paint-
it
gifts
man
all,
its
essential character.
Above
humanists
at Vinci,
Ludovico
il
Moro,
who commissioned
Upon
Leonardo went
cis
I,
to
he stayed
There
is
art, of
French court
at the
end
of his
Mona
Lisa, his
and
art
science,
The
selves universal!"
tradition
portrait,
is
an ideal
"How
easily
to
is
Fran-
life.
It is also
which reconciles
years,
Summoned by
to the
than Leonardo's
spirit of
Ma-
Botticelli.
among
work.
ballistics,
mic grace of the figures and the visual poetry of the draperies
a likeness so as to concentrate on
we have
portant sources
fine.
to
family,
in
is
later
to
The Louvre
is
the richest of
may
all
galleries in paintings
John the
Baptist, Saint
above
in the
all,
Mona
by
Lisa.
157
PLATE l6
in
the Prado.
GIORGIONE
[1477P-1510]
PLATE 18
Pastoral Concert
RAPHAEL
bathed in the glow of sunset, two couples engage
and music-making, while a shepherd drives
sation
homeward through
of this Concert
The overtone
will
his flock
La
Belle Jardiniere
real subject
helped to form
Champetre, however,
The
[1483-1520]
in conver-
is
in the lingering
golden
moment
The awakening of
scenes of evocative charm
faces.
pass; already
is
his
mature
style
with
its facility
of draftsman-
called
in a sense the
first
of the
moderns.
Little
known
is
of his
He was
life.
born
near
at Castelfranco
(many known
to us only
to
Rome
to decorate the
and
later,
unparalleled in Western
acter,
and
La
Belle Jardiniere,
is
religious feeling.
who
of
Western painting
it is
Titian, per-
owe much
artists of
her confidingly,
at
PLATE 19
to him. Velasquez,
down to
may all be
CARAVAGGIO
[1562P-1609]
Portrait of Alof
de Wignacourt
up
fel-
said to
the Child leaning against the Virgin, his arms forming a con-
The Entombment
haps,
is
the
[14779-1576]
marked preference;
ever,
in
TITIAN
Roman
became increasingly rich. Overwhelmed with commissions and official responsibilities he died at thirty-seven,
universally mourned for his goodness, the beauty of his charmurals,
it
PLATE 17
of
Raphael had,
art.
The School
him
at
whom
he collaborated on the
Fondaco
was quick
to
facade of the
master Giorgione's
crisis of ManOnce an art form reaches its perfection, further evolution can come only through virtuoso development
of its principal characteristics; this is Mannerism. To this, Cara-
of
nerist refinement.
influ-
itself.
Throughout
worked on commissions
for
Emperors Charles
of Ferrara, the
V and
Duke
Philip
II,
of Urbino,
Pope Paul
II,
Alfonso d'Este
Mantua.
for
Federigo
this
Entombment
and
rebellion. It
he did
158
dead
who
a
is
sup-
he painted
for
Italy,
Caravaggio went to
Rome
to shield
of his
just as
having
Caravaggio worked
at last received his
Rome. Many
in Naples, Sicily,
pardon he died on
way back
to
own everyday
classes,
dress.
was
state portrait
is
in
is
Cara-
restricted;
light
the
Fogg Museum
in
itself
conception, though
initial
subject.
PLATE 22
PLATE 20
NICCOLO DELL'ARBATE
CORREGGIO
The Rape
Jupiter
[1509P-1571]
[1498-1534]
of Proserpine
and Antiope
though he was
in
work
a native of
who
of Ralphael
of
is
blended with
the
tality.
later
monumen-
calm piety.
great
of
panoramas and
summoned by
1552 he was
work on the decorations for the
fantastic architecture. In
Primaticcio to
Palace of Francis
Pluto,
god
ing to do with the loves of Jupiter. In this one the king of the
is
acts as a
all
Antiope
shown again
tall
remained
in
France
at the reclining
He
in Fontainebleau.
his death.
till
in his chariot as
nymphs
elegance of the
On
he drives
off
hill to
the right he
the
by a slanting
light
is
personal invention.
The whole
effect
is
that of
a limp body which no longer has control over gesture the very
image
and
irresistibly
PLATE 23
TINTORETTO
eighteenth century.
[1518-1594]
Paradise
PLATE 21
nicknamed after
VERONESE
his father,
who was
[1528-1588]
Calvary
Roman Mannerism
was exposed to artistic influences from central Italy, and in Venice, where he settled in
1555, he became acquainted with the work of Giulio Romano
and Parmigianino as well as with Titian's splendid color. As a
in his native
verona
result of a trip to
the artist
Rome he seems
to
have
monumental compositions which led him to produce immense canvases such as The Marriage of Carta in the Louvre.
In his later years landscape assumes a very important role in his
paintings, a powerful
means
women who
day
tall
figure
light, fantastic
ther with
its
and
draped
is
up
The composition
is
consciously restored by
dooms-
sulphurous brilliance.
preparatory drawing in
and the most daring invention. His creative urge was so strong
that, like Michelangelo, he needed great walls to decorate.
Dramatic
light,
to orchestrate his
dynamic Wagnerian
visions. Tintoretto
is,
power of
pictorial invention
This
is
of Veronese, he
159
PLATE 24
is
of eighteenth-century Venice.
ANNIBALE CARACCI
[1560-1609]
PLATE 26
Fishing
in
Ludovico and
his cousin
his brother
GIAMBATTISTA TIEPOLO
[1696-1770]
upon the
of the art of the past did not result in servile imitation, but in
The Triumph
of Religion
which was
is
with immense
No
ice,
his
ical
attempt
meaning
made
is
as
was
still
customary
at this time. It is a
simple
and churches
Ven-
in
artistic
lineage
toretto
for landscape, as
ings.
is
Fishing and
particularly evidenced
its
its
artist
ar-
him
more
to
and
ruins
by Annibale's draw-
own
artistic
temperament.
down
at a procession of believers.
by
There are more important easel paintings by Tiepolo
was selected
in order to give
is
an
sup-
posedly broken out into the very sky, affording the beholder
PLATE 25
GUARDI
[1712-1793]
PLATE 27
The Doge Embarking on the Bucentaur
though reared
fairy-tale
atmosphere, with
He was
nervous
impelled him
Views of
was above
light.
He
all
making him
and
is
festivals,
it
public, to be
rowed out
to sea in the
famous
city's nobility
and foreign
all
and the
sea. It
visitors
merrymaking.
J 60
The Virgin and Chancellor Rolin shows how van Eyck used
this
He
the Impressionists.
This painting
[1390?-1441]
in
medium
all its
art is
its
more
Chancellor of Burgundy,
its
psychological significance.
is
vivid not
The
bottle-glass of the
its
windows
something of
its
have
Through balance and rhythm, through geometrically preand clear spatial intervals, van Eyck imposes
on reality an intellectual discipline which is no less ordered
cise perspective
art.
PLATE 28
The beauty
of color, the
[1399?-1464]
The Annunciation
this panel
was
of classical Flemish
No
be the work of
picture by Rogier
tary evidence.
background, make
in the
in the Escorial,
near
PLATE 30
GERARD DAVID
[1450?-1523]
this
A
is
is
his
realism
his.
is
is
was
Rome
even
in the
kind of de-
The Wedding
Memling
(plate 29), is the central panel of a triptych which Rogier
painted in his youth. There are other treatments of the same
subject by him, but he was never again to achieve the elegance
sumptuous robe, or of the
city's
and
Eyck
(plate
Mem-
ling's death,
in Bruges,
Although
it
class
to
be a celebration
house in Bruges.
at a
The Wedding
prosperous middle-
Virgin
The
sit
bride
to
is
and the
who show no
The absence
each figure
is
of
movement
fixed in
its
in this picture
position
is
and appears
PLATE 29
most famous
he
Bouts and
time the
at that
inspired
he was influenced
at
Cana
at
left.
This
fixity is
be noted:
to
to
be as
who
little
kneel in
very characteristic of
David's work.
MEMLING
[1433P-1494]
PLATE 31
The Mystic Marriage
of Saint Catharine
BRUEGEL
born near mainz, Memling visited Cologne in his youth and
probably painted in Rogier van der Weyden's studio in Brussels
[1525-1569]
The Beggars
life,
ac-
John's
Hospital,
work reminiscent
manuscript
of
A man
his
man
illumination.
economy. After
tions of others
to
its
highest
point of accomplishment.
of Saint Catharine
is
one panel of a
half, representing a
who
is
fore a
hedge
garet,
favorite
art
group of
saints
Mar-
was a
full
he
style,
he moved toward an
drama: he engraved a
is
acquired a sense of
series of "Virtues"
his
his
man
is
man
The misery
of his Beggars
is
little
wood one
panel appear
It is
much
larger than
possible that as in
makes
this small
it is.
many
J 61
is
Low
Countries
which adorn
to ridicule
Through
his
powerful and
which communicates an
II.
so he
sums up
all
that
is
PLATE 32
PLATE 34
RUBENS
[1577-1640]
VAN DYCK
[1599-1641]
Country Fair
Portrait of Charles I of
own
lyrical
and Baroque
style.
always
is
Rubens' own.
Toward
life
land-
men and
nature. His
It is
life in
traditionally
in the British
this
care-
work.
and the
of his subjects,
his compositions.
this
descend
and movement
is
sum up Rubens'
art:
it
bacchanal
The
the exaltation
style.
After 1631,
work began
to
when he
show
fell
visited
inspiration of the
How
is
this picture
came
it is
who was
to Louis
to
to
be beheaded should
at
this
one time
fate.
[1605?-1638?]
The Smoker
in
had begun
to spread;
and
(plate
19)
later the
matured
was the
his
his
Adam
but his early work was shaped by the current Italian in-
fluences:
this journey.
BROUWER
from the
PLATE 35
[1593-1678]
in
style;
have belonged
Born
of the elements of
enriched his
death
PLATE 33
art.
harmony
portrait of a king
we know
pictorial
visit to Italy
JORDAENS
of life
Country
England
became a mere
own
rich
and
in-
addiction.
life,
fumes from
his pipe
and clutches
relishes the
Brouwer
turist.
162
work
to the
(plate 31),
from
whom
He would
brush strokes.
remained true
to his inspiration
and
he inherited from Bruegel the Elder. He was a landscape painter of great versatility and modernity, exerting a
strong influence on Flemish and Dutch artists. Rubens owned
tion that
no
less
is
how
It is
possible
influences,
is
and
people.
PLATE 38
PLATE 36
HIERONYMUS BOSCH
The Ship
He
school.
HOBBEMA
[1450P-1516?]
[1638-1709]
The Watermill
of Fools
Memling
it
as
by an
artist
who
in
which Flemish
in feeling that
is
midway
in time
and Geertgen
art
was
difficult
it is
between
who admired
his
tically
his
poetic feeling.
may have
Narragonia, of
men
his time
with his
own
city of
Amster-
fame outshone
that of Ruisdael
equaled in technical
Hobbema
ability
(plate 44),
who
but
whom
far surpassed
he
him
in
trees with
The
mills all under skies covered with intricate clouds. Nature did
fantasies,
abounding
in diabolism
and
when he was
Strange, tormented
when he was
dated 1658,
is
abandoned painting
last
readily turned to
own
its
account.
it
did in Ruisdael.
exist-
thickets,
where we seem
the
stir
of
to feel the
into a picture
life.
it
Woman
in Sunlight, to
which
it
was
PLATE 37
[1465P-1493]
III
Witzleben.
of Lazarus
PLATE 39
A native of the northern provinces
which later became Holland, Geertgen
of the Netherlands,
him
are
in their
two works
Museum,
Cross; and
it
definitely ascribed to
is
Geertgen
in the
of
There
among which
[1606-1669]
Bathsheba
Vienna
REMBRANDT
who housed
is
early
Titus, he
and
prime importance.
was
shows
to
He was
maRembrandt
life.
Hendrickje
Stoffels,
who
first
163
last
years of his
six
absorbed in
life
his
own
magnificent visions
rich in mystery.
whom
Hendrickje
It is
Deep
in thought,
she holds a
body
in
Rembrandt's eyes.
At
when
that light
never so
is
it
also
man
of
good
his
is
Rembrandt discovered
this time,
radiant as
and
color
its
heavy and without grace, her features coarse and sad; but
her devotion and the depth of her love have transformed her
of the Italianizing
artists.
will,
depth of
and
feeling,
and the mouth twisted with laughter. With Hals, painting lost
ancient immobility and seized upon the fleeting and the
its
elusive.
reflective spirit
his
own
splendor.
PLATE 42
HEDA
[1593P-1682?]
PLATE 40
Still
VERMEER
Life
[1632-1675]
very little
of Heda's
life.
native of Haarlem,
The Lacemaker
known
is
his first
years later he
we know
tirely in
its
its
its
ceramics,
distinguished so-
consists of
still life
First created
had developed
ciety.
to
scrupulous
painting.
by the
artists of
way by
in a particular
now
concen-
both vertical and horizontal planes are placed a few impermanent objects cracked nuts and half-eaten cakes. Here we
may see one of the major characteristics of the Dutch still life
These
everyday
reality of
life
it
art.
Lacemaker, which
Probably painted
shows how
may
at the
he transforms the
into a gentle
and
few
on a
table.
of
art of the
volume and
a personal
still life is
and a tech-
structure,
is
"is
something
prey to time."
and
its
it is
sweetness, that he
distills
from the
its
visible
charm
world
around him.
PLATE 43
POTTER
PLATE 41
is
HALS
[1625-1654]
[1580P-1666]
is
own
He
is
up
to the
minute
La Bohemienne
The
horizon,
the vertical lines of the trees, the contrast in tone with the sky,
1 64
and the small deer grouped around a pond all these help
bring his central figure into greater prominence.
golden, in the
manner
eye never
fails
it is
to
light is
always
him.
umph
The
when
the
tri-
now seems
trian truthfulness
With
triviality.
his refined
life,
ing, laughing,
and dancing
to the
sound of a
rustic band.
PLATE 44
PLATE 46
RUISDAEL
[1628F-1682]
TER BORCH
The Burst
[1617-1681]
of Sunlight
The Gallant
ruisdael was born in haarlem of a family of landscape
painters. He studied with his father Isaak, and he was also
influenced by the work of his
began as a painter of the Dutch
skies;
uncle,
plain,
Salomon Ruisdael. He
with its immense cloudy
we
tragic,
Amsterdam
find
He
settled in
in 1656, but,
in
France
versity of Caen.
was during the last period of his life, when the note of
melancholy reverie became more prominent, that he painted
It
more markedly
He
is
supposed
and the
human
dwellings, and a
few
and
isolated figures
ments
as
if
to
forces of nature.
The gleam
man
at
have known
vast sky
to
windmill,
to turn
was received
court where he
Under the
light, a
social
and by the
We
lady, so discreet
and distinguished
Vermeer
are impressed
silent
in appearance.
whom
he must
in
for
whom
he
and delicate
in spirit,
precious cloths.
how
the
artist's
scrupulous
PLATE 47
REYNOLDS
[1723-1792]
PLATE 45
Master Hare
STEEN
[1626P-1679]
Celebration in a Tavern
life,
interested in painting
to
The
to
last
have had
difficulty in
fife
were spent
in
Leyden where
at
any
inn.
This
in
may
displayed at the back of the room prove that the landlord was
a lover of painting.
brations.
Northern painters
in revels
and popular
cele-
lyrical
and Shakespearian
themes.
The son
first
The
Rubens; and
it is
in fact
charm
to
communicate the
free
and happy
be an individual; he
portrait of
Master Hare,
is
165
PLATE 48
PLATE 50
CONSTABLE
LAWRENCE
[1776-1837]
Helmingham Park
for
him
and
a conventional
re-
stead
was
He
his inspiration.
seems to have
felt
Hemp-
no need for a
by
affected
where
his
work, especially
and
solitudes."
He worked
directly
last of
When
brilliant success.
he went on
most famous
of the
to a career of
London
artists of
1825
in
Europe, the
Academy
at
an important
the admiration
was boundless."
work the strong influence of Reynolds is evident. The family portrait two people,
or parents and children seen against the background of a
peaceful landscape was a typical subject of late eighteenth-
is
.
were seen.
his paintings
Julius Angerstein
[1769-1830]
in
among
the oaks
it,
tradition.
was
finish the
and
a wealthy merchant
elegance
composition.
He
PLATE 51
in
EL GRECO
[1541-1614]
Portrait of Covarrubias
side.
PLATE 49
He was
of the Venetians.
BONINGTON
education nor
View
him
calls
at Versailles
of watercolor
and
of the small
their
when he went
a follower of Titian;
Bassano
cially
We
Byzantine antecedents.
[1802-1828]
who
hands
in the
to Venice.
il is
his artistic
contemporary
text
Rome,
Rome he went
to Spain, the
field," his
He
brief career
and Turner
as
birth,
said to
may be
art of land-
David
in
His View at Versailles has often, and mistakenly, been described as a sketch. Bonington never gave a detailed and
sions
finish to his
marvelous harmony of
effects,
and the
"fail to
facility
admire the
of his exe-
and
at the
The
passers-by, in the
View
and hungry
for truth.
the mystical
politan
of Toledo,
which
is
no
and
of the great
expanse
reflected in pools.
The
this bright
symphony.
trait painter,
intensely spiritual,
art;
he
is,
as Jean
is
call,
a prayer, a cry."
modern
last
in style
and
is
strikingly
color,
he
166
smooth
settled in Toledo,
city's
on the edge
expressive this
mask
of
an old
man
is
further exaggerated
collar.
filled
PLATE 54
PLATE 52
ZURBARAN
VELASQUEZ
[1598-1664?]
The Funeral
of Saint Bonaventure
Queen Mariana
Portrait of
in con-
[1599-1660]
iv of Spain,
Velasquez in
his later
years depicted only the court, including even the buffoons and
sometimes overpowering
scription
The Funeral
in
solemnity.
its
of Saint Bonaventure
amples of Spanish
also
it is
art of the
is
and distinguished
of the
The
is
itself,
whose
of
contrasted
"O buona
by
Ven-
with the
tura!" Cardinal,
PLATE 55
PLATE 53
GOYA
RIBERA
Woman
[1591?-1652]
[1746-1828]
Grey
in
if velasquez'
The Clubfoot
portraiture
Goya added
for
example
is
as
at the
To
aloofly impartial,
is
Goya, in
his
a psychological penetration. In
in his portrait of the
some
paintings,
cent portraits of
example of
Though
the Louvre
men by Goya,
it
modern
century Spain.
His Clubfoot
his finest
name from
when he was
it is
trait.
real
in-
it
An
to "the painter of
it
woman, and
and perfec-
overshadowed by the
the greatest
originality
painting of a
all
is
is
white corpse, the beauty of the golds and reds, and the purity
and sobriety
He
artist of
in
its
to
of
Manet
or Degas.
period. Carrying his rolled capa, with his crutch over his
same
of sky.
that he
An
inscription,
was
this portrait,
also
one of the
The extreme
last
and most
moving work of
realism
and the
violent
art.
167
PLATE 56
PLATE 58
DURER
FOUQUET
[1471-1528]
Self-Portrait
Saint Martin
interests, a true
man
self. Its
life
in order to share
sword
set this
The
it
becomes
crowd
in a
is
his skillful
its
it
calm simplicity.
to
precise realism,
Self-Portrait
He
do.
Fouquet broke away from the Gothic linearity and Mannerist elegance of the school of Paris. He was the earliest painter
to record the famous subtle light peculiar to the Ile-de-France
and he used this light, not mechanically, but to fuse his figures
The
[1420P-1480?]
is
the
first
its
of a series
human
face,
still
pre-
making
this
Germanic painting.
whom
PLATE 59
MALOUEL(?)
he married at Nuremberg
in 1494.
Pieta
PLATE 57
HOLBEIN
[1497P-1 543]
God
who
is
Dove
sup-
of the
Emile
to
Anne
of Cleves
text of Saint
Bonaventure.
letters of introduc-
the King.
had created
tion
from
his friend
that
This
is
evident
the vague,
coiffure,
empty
but also
in the psychological
It is
attributed
of the gold-wrought
Other
historians,
crown
Malouel.
is
detail
characteristic.
which the
to
bal-
features,
than
it
more
insignificant
if
somewhat
stilted,
was.
PLATE 60
if
this
order confronts
UNKNOWN PAINTER
[15th century]
Villeneuve-les-Avignon Pieta
him
century.
168
and unlovely
The King was captivated by Holbein's portrait, with its unflattering realism, but he was so disillusioned by the living
model that he put up with her for only a few months and then
divorced her. The portrait is proof that a great artist may
create a masterpiece to order, even
anced
is lost
in mystery.
whose
on the
We
left
or
What
power
great artist
monumental and
had the
sober, so har-
him
Man
Son of
we
majesty, the
sci-
Mag-
brilliant figures
of the Renaissance.
and
was discovered at the time of the exhibition of "Primitives" in 1904. Though the Pietd can be dated about 1460
attempts to attribute it- to any known master have been inconclusive. It is the most beautiful example of Provencal and
Avignon painting whose linear style gives a harsh reality to
forms and a poignant expression to faces. The solemn pathos
of the scene and the intensity of expression make this painting
that
the grand
by
are held
composition.
this
One
ences.
is
All that
closest to
Virgin
first
it
art.
The
when
century
it
it
a greater nobility.
at
was transferred
to Versailles before
coming
to the Louvre.
PLATE 63
UNKNOWN PAINTER
[16th century]
of the
PLATE 6l
MASTER OF MOULINS
in 1531, as
part of
his
program
Saint
Waters
of subjecting
established
il
art to
number
historians
have agreed to
anonymous Master
Moulins
who worked
in the
Bourbon country
of
The
two panels
painting
of
which
change
in the
French
realism with
Italian
elements effected a
tradition.
school of Fontainebleau in
of the
its full
to identify
flowering.
The
subject, prob-
and
in
as well as
is difficult
Italian elements
elegant gesture,
may be
distinguished.
the elongated
The
stilted essay
the delicate
silhouettes,
lost.
The
radical
fifteenth century.
The
French and
resultant mixture of
there
is
had brought
which
to France.
But
Hugo van
Whoever he was,
which remain
Fouquet he followed
der Goes.
a course different
which the
of Paris.
essentially French.
little
Even
all
a Northern influence
of
is
the Saint, the devout bearing of the donor, and the attention
given to the faces these are typical of French art at the end
of the fifteenth century: an art of
which the
artist
must transcend
in
PLATE 64
LOUIS LE NAIN
The Pilgrims
the whole art
PLATE 62
at
[1593P-1648]
Emmaus
of Louis
Le Nain
is
summed up
in this scene:
JEAN CLOUET
ance of the Savior. Here. are the subjects he loved: the various
[1485P-1540P]
little
dog
is
not out of
and the wine and the bread on the table are sacred
As the three men begin their sparse meal, the eyes of
the two disciples suddenly open as their companion, who has
the finely drawn face of an aristocrat, breaks his bread. Le
place;
Portrait of Francis I
food.
I is
not the
handsome man
that
169
with which a peasant holds his glass of wine and breaks his
ships
sensibility.
The composition
is
figures.
is
the ar-
The absence
of
any
air,
Christian devotion.
unreal.
were made
it
to distinguish his
an architecture of dreams;
the ships are phantom, the figures in the foreground are actors
all
Even
the light
seems
itself
will die
and makes
this picture
PLATE 67
LE BRUN
[1619-1690]
PLATE 65
Equestrian Portrait of Chancellor Seguier
POUSSIN
[1594-1665]
LE BRUN WAS THE FAVORITE PAINTER of Louis XIV, the founder
The Triumph
and
of Flora
first
director of the
quently the
among
the
monu-
The Equestrian
at
official career,
he rode
style,
was
of the bodies,
made
and precision;
clay figures
often, as
The simple
PLATE 66
her
in 1660.
in
is
century.
among
Louvre
in 1942.
PLATE 68
GEORGES DE LA TOUR
it
[1600-1682]
is
only recently
[1593-1652]
settled in
Rome
in 1627.
light, like
is
There
landscapes
nothing ever
The Seaport
at Sunset
interested Claude.
Here
He
light of sunset,
when
at various
La Tour has
times mysteriously
Seaport at Sunset
170
when
at
CLAUDE LORRAIN
birth
magnificent costume
this
drawn by cupids
in the manner of an ancient triumphal procession. About her
spreads a train of nymphs, symbols of beauty and youth, and
a dancing and running crowd which expresses the joy of Spring.
The composition, accented in the left half of the picture, proceeds in repeated parallel rhythms which balance one another,
giving this work a unique perfection.
he spent the
was painted
of the
of his paintings.
is
of Flora
and conse-
The Triumph
Arts,
indis-
pensable to his genius. His profoundly classical temperamentreasonable, calm, and balanced was at ease
and
artistic dictator of
is
all is
tian
be hung
in his
bedroom, he
is
now
still
first
But soon
the piece of
wood Joseph
is
working seems
critic,
P.
hand of
little
it
is
sometimes held
in the
RIGAUD
[1659-1743]
XIV
Portrait of Louis
PLATE 69
Portrait of
[1602-1674]
Arnauld d'Andilly
style of
PLATE 71
night."
DE CHAMPAIGNE
realistic
to contain
One
de La
rigid
subjects.
of this portrait
is
identified
as
portrait,
incarnation of kingship.
in
De Champaigne
drapery
Although
Grand
is
it
of Saint
develop-
pictorial sensualism
light.
Here we
Brun.
of Spain
it
hung
and
in the throne
room
it
that he retained
at Versailles.
PLATE 72
[1617-1655]
Raymond
[1684-1721]
Diocres
In his notebooks he
life
new
WATTE AU
one of a
PLATE 70
is
is
this canvas
it,
of
picture
this
Siecle,
ment: there
Philip
The Death
on symbolic gran-
LE SUEUR
detail takes
it
Each
series of
Carthusian order. Le Sueur was given the commission to execute this important religious cycle by the Charterhouse of
much swayed by
the
sketched figures
tinued to inspire
artists
Cythera
Paris.
a poet
is
an eternal
girl
agrees
is
leaving.
Arts
had been
so impressed
by
1712, but
it
was not
diploma work,
this
moment,
admirable master-
lost the
171
PLATE 73
LANCRET
which
pictorial substance
trans-
[1690-1743]
PLATE 75
Spirit
BOUCHER
[1703-1770]
Although
work
his
shadows, fantastic
he has
figures,
little
of his genius.
of imaginary landscapes,
full
is
lost the
The Bath
of
Diana
gentle
more
little
won
He was
Boucher exercised
elected to the
Academy
his contemporaries.
in 1719.
is
of Lancret's work,
won
this
for
commission, which
title
of a history painter.
is
The scene
is
works.
it
and unappreciated by
is,
his
con-
famous Order
XV
The work has an extraordinary pictorial quality, brought out in a luminous harmony
of ashen tints lightly touched with black. And in reporting the
ing in satins and velvets, looks on.
scene without
vivid
artist of
on
all
unrivaled
facility,
subjects, but
above
is
his
The Bath
of
it
was
Unfinished though
temporaries, this
women. He
portraits of
fined of the
on
all
An
pomp
and impressive
historical
document.
light
wood paneling
The composition
from
line
left to right;
is
lines,
ascending
Boucher has
PLATE 74
CHARDIN
[1699-1779]
PLATE 76
QUENTIN DE LA TOUR
is
in that essentially
French dynasty
Portrait of
pastel, a
Thanks
ment."
When
Madame de Pompadour
Corot,
said,
[1704-1788]
medium he
to
it
preferred for
its
little
it
now
at
an
looked with great sympathy at the slow, somewhat tired posture of the
maid
In Chardin's painting
we
When Madame
many
ville,"
meaning
However, he
that
finally
he expected
XV
he succeeded
in
some
his sitters to
come
to him.
sitters.
same
artist set
now
ties
famous
this
difficult to
know what
to
deliberate composition of
172
first
admire more
still
fife
in his
work: the
it is
solid,
she
is
in her youth;
shown surrounded by
her as an
artist,
inter-
and
thirty-
her so
objects
and
attributes
satin,
which mark
other words as a
woman
the Prix de
PERRONNEAU
Madame de
Sorquainville
whom
he transferred
official
Sorquainville
it is
is
he
The
sion.
is
an eighteenth-
is
on the
lips;
moved by
this reunion.
to visit
whom
his faith,
its fall,
in
is
meant
as
still
held in
he had become
an exhortation to pardon
of the
com-
Other Sabine
women
father Tatius.
The emotional
come
from
which
in this painting
of
work, in that
An
Madame de
beliefs.
became a member
[1715-1783]
he became the
Portrait of
rigid, cold,
virile style
PLATE 77
evolved a
deliber-
comes
ateness.
from
its
blue-green and
warm
PLATE 80
PLATE 78
PRUD'HON
FRAGONARD
[1732-1806]
[1758-1823]
Portrait of the
The Bathers
upon
his
arrival
Empress Josephine
in
who had
pencil,
and because of
inspired
The
by a powerful love
life.
superficial.
subject of bathers, in
ants, offering
brush
Fragonard, pupil of
his facility,
But he was,
his
characteristic verve
and high
spirits.
this
is
theme with
and
in the light
He
which transforms
and the
trees
their skin
and plants
and
into
changed
rial,
is
volatile,
is
self to
to
On
know and
all,
Correg-
artist,
his
own
generation
which he introduced
The background
same
it
in literature.
shows
was
from
woman, lovely, elegant, indolent a woman who knows how to make herself
loved. Prud'hon has heightened her graceful charm by hinting
at a meditative sadness.
PLATE 79
PLATE 81
DAVID
INGRES
The
his
[1748-1824]
Battle of the
trained under
[1 780-1867]
Odalisque
Ingres, david's greatest pupil, lived in Borne for twenty
years, ultimately
173
emy
He was
a flaw-
painting:
it
was the
him the
was
It
this
whose every
brush stroke
is
which made
color.
tal accessories,
came
actually the
to Gericault
fair at
It is
for the
Saint-Cloud he saw a
is
the
fine
more
dynamic poise
Dominating
beautiful, the
the composition
is
When
its
power
for a blow.
Gericault,
exclaimed in astonishment,
new
genera-
PLATE 84
PLATE 82
DELACROIX
GROS
[1798-1863]
[1771-1835]
Count Fournier-Sarloveze
who was
1792. Re-
up
himself
Venetians.
who became
fierce
dubbed "the
Victor
Hugo
classicist"
and he
by the
disliked being
of painting."
ideal of freedom.
The
politics,
but he was
in
came
Lugo
An
was
emissary
men
willing to die
to
of the
new
The
classical
PLATE 85
THEODORE ROUSSEAU
[1812-1867]
Oak Trees
[1791-1824]
success
Guard
came to rousseau
174
contrast
living dangerously:
day.
PLATE 83
GERICAULT
move
on the edge of
known
came
into being.
live a
permanently
solitary
more
studies that
we
began
creation.
that he
popularity.
The
nature.
He
Each
its
own
subtle
color values:
in a
bluish light.
With
his sensitive
of a house
best
ing,
known
for his
in the
culty
by doing
portraits
eenth-century tradition.
the Salon in 1840; this
One
of his pictures
diffi-
in the eight-
was accepted by
dignity.
Though
Commune,
was
this
work, which in
its
capital.
on
its
tells
us
way.
[1808-1879]
he produced
the artist
DAUMIER
Springtime
rural
where he was
PLATE 88
is
skill
PLATE 86
millet
window
that Impressionism
[1814-1875]
had
MILLET
Although
woodland scenes
life, under the
felt
He saw them
life
life
of the peasants in
bowed down
the
his
young through
his reputation
when
quite
newspaper La Carica-
ture.
new
light effects
it
produced on the
characterization brings to
it
is
one of
life
Les Fourberies
De
Scapin.
No
written
of a cheat
with his
and swindler who folds his arms in triumph,
low cunning. Daumier's art, like that of the theater itself, is
satisfied
both
and expressive
realistic
to the point of
symbolism.
PLATE 87
PLATE 89
COROT
[1796-1875]
COURBET
[1819-1877]
Belfry of Douai
Roe-Deer
it
that the
in a Forest
coubbet's first
and copying
in
seeking
new
we have
monumental
too stark
were unbearably
and shocking.
real,
was
is
175
Commune. He was
years of his
last six
life
on
which was
one of
when
it
was
ex-
work
into
life. It
seems
to
be through
name
title
of
Impression Sunrise.
figures,
and
his pri-
silhouette of trees the only firm line in the picture. Vast roll-
among
Monet himself painted
the Imseveral
In his later
and concentrated on
stack, poplars.
PLATE 90
human
poetry.
MANET
its
beauty of
to derive
his paintings,
These he painted in
[1832-1883]
manner unique
in the history of
art.
to
inspired
CEZANNE
[1839-1906]
Luncheon
Bay
of L'Estaque
Aix,
train-
of his
An
Under
the
and he began
to
lighter,
solid construc-
tion.
into
luminous atmosphere
real,
space,
adopted
remained
with them.
He
made him
most important
always
the forerunner of
single influence
and
views of L'Estaque, a
PLATE 91
MONET
the
on twentieth-century painting.
of the
Bay
of
[1840-1926]
PLATE 93
Field of Poppies
SISLEY [1839-1899]
monet was
ist
Boudin,
whom
he met
at
Le Havre.
In Paris he
who were
became the
The
early effect
on
his
Constable
his return
176
for
Flood at Port-Marly
and Bazille
him of
Turner.
On
born
in paris
of English parents,
to
He
responded to
is
in his lifetime,
now
he attacked
his friend
confinement
his
ued
in the
to paint.
the Ile-de-France.
a great impression
on
Sisley. In
to his anguish.
he has
to indulge in rhetoric,
surrounded
of indifferent elements.
Paris.
Despite the
Gogh
finally
whom
Dr. Gachet,
as the
it,
committed suicide
Gogh
in the
this subject in
asylum of
tal
spiritual suffering.
PLATE 94
RENOIR
Two
PLATE 96
[1841-1919]
SEURAT
[1859-1891]
The Circus
Sisley, Bazille,
to
become
leaders of
which had
to his
led
haunt
Courbet, but
own
it
He was
that he
inspired
was led
by
Italy,
by
a return to a bolder
color,
and a
manner and
to richer,
work
more
is
marked
iridescent
wonderful nudes.
shows
human
figure,
and
in the
Two
his special
to study optics
colors should
developed a
color
problems
strict
of color.
method
of painting, using
lines
similarity,
little
and
and he
dots of pure
him
or Neo-Impressionism,
won
Seurat
is
admired
The Circus
is
several adherents
the
and
rhythms.
last of
and
was
when
he achieved in
he died
at the
it
still
unfinished
PLATE 95
which
is
VAN GOGH
lines
[1853-1890]
Dr. Gachet
PLATE 97
encouraged to come to Paris by his brother Theo, an art
dealer, van Gogh in 1866 made the acquaintance of the Impressionists,
color.
Two
from
whom
years later, he
GAUGUIN
[1848-1903]
went
by
in
and
stability
life to art.
at first only
by hobby,
and his
his children,
177
to over-civilized
lost
To
seek
which he
communities, he
When
Ages.
he was about
being normal but his legs dwarfed. His frustrated love for
movement found
swift, graceful
many
expression in his
paint-
introduction to
first
show
already
movement. Under
the influence of
fluid,
of the tropics.
made
is
so
He
tried
called
"mo-
music
halls
Many
mood
cafes.
and com-
religion
markable orange
it
and night
what Baudelaire
whose
that
in appearance,
sible to
in
Degas and
its thirst
lights.
filters
much
It
maturely brought on by a
health.
born
life
portraitist,
human
gift
face or a
brightness."
with the quick, light touch of his brush he has captured the
PLATE 98
DEGAS
mordant
man
wit.
[1834-1917]
PLATE 100
Dancing Class
Opera
at the
HENRI ROUSSEAU
THE FINEST DRAFTSMAN OF
DegaS received
a classical training at the Ecole des Beaux-Arts in Paris under
a follower of Ingres; in Rome and Naples he studied the Italian
primitives. But under the influence of other young painters
and writers, he soon began to develop a more modern and
original technique.
1874 and
later
he was almost
models
He
last years,
when
and dancers.
diaphanous
tulle
ballet:
light,
The Dancing
Class
and the
is
one
War
called "le douanier" because
toms house
in Paris,
employment
of his
and because
up
painting.
He
this
at the cus-
occupation at
his
re-
atmosphere of the
[1844-1910]
HIS GENERATION,
bril-
of the
at the Salle
and the
critics,
artists
were encounter-
he derived from
ceived notions of
cut off the legs of the chair in the center a truncation that
spirit
itself
his
new
the
are
made by
War,
In this allegory,
by
steel
and
fire,
estingly enough,
PLATE 99
upon humanity
tation of nature.
[1864-1901]
vision,
TOULOUSE-LAUTREC
that
by catching the
From time
wrote in one of
new
to
in his day.
amused
style,
looks
had never
visited.
down from
also a psychoanalytical
lying mutilated
symbol of death)
of a
It
is
"Sunday" painters who have fascinated our times since Apollinaire first focused attention on them.
178
this
TITLES
THIS SERIES
IN
PRADO
167
REPRODUCTIONS
81
Text by Harry B
Wehk
METROPOLITAN
211
REPRODUCTIONS
Tfxl by
PAGES
130
IN
FULL COLOR
LOUVRE
141
REPRODUCTIONS
100
the
French
of
Rene'
Huyabe