A T E XT —

BO O K O F T H E

H I S T O RY O F PA I N T I N G “

BY

JO H N c . VA N D YKE , L H D . . .

PRO F E S S O R OF TH E H I S TO R Y OF A RT IN R UT G ERS

OO L L E G E , A ND A U TH O R OF
“
A RT FO R A RT S
’
SA K E,
”

“
TH E M E A NI N G OF PI C TU R E S ,
” “
N EW G UIDE S To
”
O LD MA S T E R S , E TC .

N E W E D I TI ON

L O N G M A N S, G R E E N, A N D C O .

F OURTH A VE N UE A N D 3OTH S T R E E T, N E W YO RK
LO ND ON , BO MBA Y CAL C UTTA
, AN D M A D RA S

I 9 1 5
 C O P Y R I G H T, 1 8 9 4, B Y

L O N G M A N S, G R E E N, A N D (xL

C O P Y R I G H T, 1 9 1 5 B Y

L O N G M A N S, G R E E N, A N D (K L

A L L R I G H T S R E S E RVE D

F i rs t E i i dto n, Oc t ob e r, 1 894 .

e i te d
R pr n , ovem b e 8 6 Revi e d
M arch 1 89 5 and N r, 1 9 s

N ove m b e d No e m b e
.
, , .

8 8 8
r, 1 97, an v r, 1 9 .

N ove m b e 8 d O t ob e r, 1 99, an c r, 1 901 .

D e em be d A il
c r, 1 902, an pr , 1 9 04 .

S e p te mb e 5 A
r, 1 90 t . Fe b ug us , J l
1 907 Re i e d ru ar y , 1 9 09 . u y, 1 910 v s

N o e mbe
. . .

M ay , 1 91 2 . v r, 1 913 .

A p il 9 5
r , 1 1 N w E di t io
. e e l e d d ew i tte i th m y Ill t t io
n, n a rg an r r n, w an n ew us r a ns .
 PR E FA C E TO FI R ST E D ITI O N

HE b je c t of thi s s e r i e s of t ext b oo k s i s t o p r ovid e

O -

c o n cis e t e ac h ab l e hi s t o r i e s of a rt fo r c l ass r oo m u s e
-

i n sc h oo l s a n d co ll e g e s . T h e li m i t e d t i m e g iv e n t o t h e
s t udy of a rt i n th e av e r a ge e duca t io n a l i n s t i t u t io n h as n o t
o nl y di c t a t e d th e co n d en s e d s t y l e of th e vo l u m e s bu t h as ,

l i m i t e d th e i r sco p e of m a t t e r t o th e ge n e r a l f e a t u r e s o f a rt
h is t o r y A r c h aeo l o g ica l discussio n s o n sp e cia l sub je c t s
.

an d ae s th e t i c th e o r i e s h av e b e e n avoid e d Th e m ai n fac t s
.

o f h is t o r y a s s e ttl e d by th e b e s t au th o r i t i e s a r e giv e n If .

th e r e ad e r c h oos e t o e n t e r i n t o p a rt icu l a r s th e bib l io g r a p h y

ci t e d a t th e h e ad of e ac h c h ap t e r w i ll b e fou n d h e lp fu l .

I ll us tr a t io n s h av e b ee n i n tr oduc e d as sig ht h e lp t o th e -

t ext an d t o avoi d r ep e t i t io n abb r e via t io n s h av e b e en u s e d

, , ,

w h e r e v e r p r ac t icab l e . Th e e n u m e r a t io n of th e p r i n ci p a l
w o r k s of a sc h oo l o r p e r iod a n d w h e r e th e y m ay b e fou n d
, , ,

w hi c h fo ll o w s e ac h c h ap t e r m ay b e s e r vic e ab l e t o tr av
,

e l li n g s t ud e n t s i n E u r o p e .

Thi s vo l u m e on p ai n t i n g t h e fi r s t O f th e s e r i e s o m i t s
, ,

m en t io n of suc h w o r k i n A r abi c I n dia n C hi n e s e a n d Pe r

, , ,

sia n a rt as m ay co m e p r op e rl y u n d e r th e h e ad of O r n a m en t .

I n t re a t i n g of i n divid u a l p ai n t e r s i t h as b e e n th oug ht b e s t
t o giv e a s h o rt c r i t ica l e s t im a t e of th e m an an d hi s r a n k
a m o n g th e p ai n t e r s of h is t im e r a th e r th a n th e d e t ai l e d
fac t s of hi s lif e S t ud en t s w h o wis h accou n t s of th e liv e s
.

of th e p ai n t e r s s h ou l d u se V a sa r i a n d th e va r io u s e n cyclo
p ae di as a n d hi s t o r i e s ci t e d i n th e bib li o g r a p h y i n co nn e c t io n
,

w i th thi s t ext —b oo k .

O t b r 89 4
c o e 1
J OH N C VA N DY KE
.

327 25 8
 PR E FA C E TO R EVI S E D E D ITI O N

HE v e r y favo r ab l e r e c ep t io n w hi c h thi s li t tl e t ext

b oo k h as m e t wi th a t th e h a n ds of th e p ub li c e n
t i tl e s i t t o a new d r e ss of t yp e n ew i ll us tr a t io n s an d a
, ,

th o r ou g h r e visio n of th e w r i tt e n m a tt e r I n g ivi n g th e s e
.

th e r e h as b ee n an a tt em p t t o m od e rni z e th e b oo k w i th ou t
m a t e r ia ll y c h a n gi n g o r exp a n di n g i t
,
. Th e o r i g i n a l p l a n
of m a ki n g i t m e r e l y a n ou tl i n e s k e t c h of th e h i s t o r y of
p ai n t i ng so m e t hi n g th a t t h e s t ud e n t m a
y fill i n by t h e

a i d of th e ci t e d bib li o g r a p h y h a s b e en r e t ai n e d A d di
.

t io n s t o th e t ext c hi efly co n c e rn r e c en tl y di scov e r e d m a

t e ri als n e w m a tt e r m o di fyi n g p e rh a p s th e hi s t o r y of a
,

sc h oo l ,
n ew l y di scov e r e d a rt is t s i n t h e o l d sc h oo l s ,
or
n e w l y a rr iv e d p ai n t e r s i n th e p r e s e n t day sc h oo l s
-
. Th e re
h a s b e e n m u c h q u e s t io n i n g i n r e c e n t y e a r s of th e a ttri b u
t io n s of th e o l d m as t e r s an d th i s t oo h as n e c e ssi t a t e d
, ,

so m e m o di fi ca t io n of c r i t ica l o p i ni o n i n i n dividua l cas e s .

A r t hi s t o r y g r o w s w i th th e y e a r s a n d th e b oo k s th a t
r e co r d i t a re in n ee d of f r e qu en t r e vi sio n .

T h e s t udy of th e hi s t o r y of p ai n tin g h as r e c e iv e d g r e a t
h e lp i n m od e rn t i m e s thr ou g h p h o t o g r ap h y I t i s n ow .

p o ssib l e w i th t h e cou n tl e ss g ood p h o t o g r a h s a n d r e r o

p p
du c ti on s to ca rr y on th e s tu dy a t h o m e . T h i s i s of
,

c o u r s e n o t so sa t isfac t o r y as s ee i n g th e o r i gi n a l p ic t u r e s
, ,

b u t i s n e v e rth e l e ss t o b e r e co mm e n d e d as a sub s t i t u t e
, , .

I n th e G e n e r a l B ib lio g r ap h y wi ll b e fou n d r e f e r e n c e t o
X PR E FA C E TO RE VI S E D E D I TI O N
b oo k s w h o ll y m ad e u p of r e p r oduc t io n s w h ic h c a n b e
boug ht a t a l ow p r ic e a n d fu r n is h e x c e ll e n t sig h t h e lp to -

th e w r i t t e n t e x t C a t a l ogu e s of so m e of th e E u r o p e a n
.

ga ll e r i e s a r e a l so l is t e d a n d s h ou l d b e u s e d fo r th e i r c o n
cis e biog r a p h i e s of p ai n t e r s A s fo r th e p ic t u r e s i n th e
.

E u r o p e a n ga ll e r i e s I do n o t h e si t a t e im mod e s t t h oug h i t
,

b e t o r e co m m e n d my o w n c r i t ica l n o t e s u p o n t h e m p u b
,

li sh e d u n d e r t h e g e n e r a l ti tl e of N e w Gu i des to Old M asters .

A c k n ow l e dgm e n t s a r e m ad e t o th e r e sp e c t iv e p ub l is h e r s
of W a lt e r s A r t of th e Gr eek s Is h am H i story of A meri ca n
, , ,

P a i n ti n g H e n d e r so n C on s ta ble Fl i n d e r s Pe tr i e A r ts a n d
, , ,
-
,

C r af ts of E gypt a n d t h e fin e s e r i e s of a rt h i s t o r i e s by
,

Pe rr o t a n d C h i p i e z fo r p e r missio n t o r ep r oduc e a f e w
,

i ll us tr a t io n s f r o m th e s e p ub li ca t io n s .

M ar h 9 5
c ,
1 1 J C V D . . . .
 TA BL E O F CO N T E N T S

L IST OF I L L U S TRA TI O N S

G E N E RA L BI BLI O G RAP H Y
I N TR O D U C TI O N

C HA PT E R I
E GY PTI A N PA I N TI N G
C H A PT E R II
BA B YLO NI A N—A S S YRI A N , PE R S I A N , PH CE NI CI A N , C YPRI O TE , A ND ASIA
M IN O R PAI N TI N G

C H A PT E R III
G RE E K ,
E TRU S CA N , A ND R O MA N PAI N TI N G
C H A PTE R IV
I TA L I A N PAI N TI N G E A RL Y C H R I S TI A N A ND M E D IE VA L PE RI O D ,
—1 2 0
300 5

C H A PTE R V
I TA L I A N PAI N TI N G G O THI C PE RI O D , 1 2 5 0—1 4 00

C H A PTE R VI
I TA LI A N PAI N TIN G E ARL Y R E N AI S S A N CE , 1 4 00 —1
5 00

C H APT E R VII
I TA L IA N PA I N TI N G E ARL Y RE N A I S S AN C E , 1 4 00 —1
5 00, Con ti n ued

C H A PTE R VIII
I TAL IA N PAI N TI N G— HI G H RE N AI S S A N CE , 1 5 00—1 6 00

C H A PTE R IX
I TA L I A N PA I NTI N G — HI G H RE N A I S S A N C E , 1 5
—
00 1 6 00 ,
C on ti n ued 1 1 5

C H A PT E R X
I TA LI A N PAI NTI N G HI G H RE NA I S S A NCE , 1 5 00 —1 6 00 , C onti n u ed 1 27
xii TA B E L O F CO NTE N TS

C H A PT E R XI
I TA L I A N PA I N TI N G— TH E D E C A DE N C E A ND M O D E RN W O R K ,
1 6 00
1 915

C H A PT E R X II
FRE N C H PA I N TI N G FRO M TH E BE G I N N IN G To N I NE TE EN TH
C E N TU R Y

C H A PTE R X III
FRE N C H PA I N TI N G N I NE TE E N TH C E N TU R Y

C H A PTE R XI V
FRE N C H PA I N TI N G N I N E TE E N TH C E N TURY , C on ti n u ed

C H A PTE R XV
G
0

FRE N CH PA I N TI N N I N E TE E N TH A ND T W E N TI E TH C E N TU RI E S ,
Conti n u ed

C HA PTE R XV I
S PA NI S H PA I N TI N G
C H AP TE R XVII
FL E M I S H PA I N TI N G FR O M TH E BE GN I NI N G To S I XTE E N TH C E N
TUR Y
C H A PTE R XVIII
L A TE FL E MI S H A ND BE L G IAN PA I N TI N G
C H A PTE R X IX
DU TC H PA I N TI N G
C H A PT E R XX
G E R M A N PA I NTI N G
C H APTE R XX I
BRI TI S H PA I N TI N G
C H A PT E R - XX II
A ME RI C A N PA I NTI N G
PO S TS C RI PT
 L I S T O F I LLU S T R A TI O N S

Ti i t a La B ll a
n, e ,
Pi tti
G ee s e of M ed u n . Me mph i t e Pe io d r
H u ti g S
n n S ce n ed Th b a P ri d
. e co n e n e o

A kh at
en d Qu
en a n S d T h b a P ri d ee n . econ e n e o

M en e p t ah S d T h b a P r i d
. e co n e n e o

Bul l s i a M a r sh
n La t r li f . e e e

W il d G a t s B ri t i s h M
o . us .

E am ll d B ri k N im
n e e d c ,
rou

E am ll d B ri k Blu G r u d
n e e c N im ,
d e o n . rou

Y ll w d Blu N im d e o an e . ro u

P rsia A r h rs
e n P a ri s
c e .

C y p ri t Pa i t d V as
o e n e e

C y p ri t V as D
o e r a ti e e co on

C r v t i W a ll Pa i t i g
e e t L d n n . on on

V as Pa i ti g Pa ri s
e n n .

Gr k ee d A ma
an C r t zo n . o ne o

H r l s S tr a g l i g t h S rp t s
e cu e n P mp i i n e e en . o e

A en eas w u d d P mp iio n e . o e

G r k P rtr a i t F a y m
ee o ,
ou

A mp h r a o L w r I t a ly
. o e

C h am b r i C a t a m b s
e n co

C h ri s t as G d S h p h rd oo C a t a mb s e e . co

C h ri s t d S ai ts
an C ata mb s n . co

M ad a d C h ild By a ti S tyl e
onn an . z n ne

By a t iz n C ru i fix
ne Pi s t i a c . o

G i tt
o S t J h a t Pa t m s
o, . o n Fl r o . o e n ce

A d a d Fi r
n re a R surr t i en ze ,Fl r e ec on . o e n ce

C r ca
g Pa r a di s (d t a il )
na, Fl r e e . o e n ce

S p i ll A r t i
ne o St B e di t
no , d T t il a Fl r . en e c an o . o en ce

Si m on eM a rti i G ui d R i i d F g l i a
n ,
Si a o cc o a o no . en

L r tti P a (d ta il) S i a
o e nz e , e ce e . en
XIV LI ST OF ILLUS TRA TI O N S
M asa i cc o , r ut M y Fl r T h e T ib e on e . o e n ce

P l aju l
o
l
P rtr a i t
o o, M il a o . n

B tt i ll i S p r i g (d t a il )
o ce ,
Fl r n e . o en ce

G h i rl a d aj P rtr a i t (d t a il )
n o, Fl r o e . o e n ce

M l e o zzo d F rl i Pl a yi g A n g la R m o ,
n e . o e

P rugi
e St M i h a l
no , Fl r . c e . o e n ce

Pi t r i h i
n u S t C a th r i
cc o,R m . e ne . o e

C ssa S t J h
o ,
M il a . o n . n

M a t g a H ly Fam ily
n e n ,
Dr s d o . e en

Lro en z o V ia A u i a ti e n ez V i no , nn nc on . e n ce

Vi v i i Al t a rp i
ar n ,
V i e ce . e n ce

C ri v ll i M a d
e a d C h il d M i l a
,
on n an . n

C a r pa i S t U r sul a (d t a il )
cc o , V i . e . e n ce

B ll i i S t C a th r i
e n , (d t a il ) V i
. e ne e . e n ce

B asa iti S s fZ b d
,
V i
on o e e ee . e n ce

F ra B a rt l m m D p s iti
o o Fl r eo , e o on . o e n ce

F ra Pa l i M ad
o a d S a i t s Fl r
n o, on n an n . o e n ce

A d a d l S a rt M ad a d ll A rp i Fl r ’
n re e o, o nn e e . o en c e

M i h l a g l D l p h i Sib y l
c e n e o, R m e c . o e

R ap h a l D i sput a (d t a i l )
e ,
R m e . o e

L X (d t ail) Fl r eo e . o en ce

L a rd d Vi i M a L i sa Pa ris
e on o a nc ,
on .

Lui i M a d a f R s Tr lli s M ila

n ,
on n o o e e . n

S lari M a d
o o, a f G r Cush i Pa ri s
on n o e en on .

S d ma E s t as y f S t C a th ri
o o ,
c Si a o . e ne . en

D ss i S t S b as ti a M il a
o ,
. e n . n

C rr g gi
o e H ly N i g h t o,Dr s d o . e en

C rr gg i ( p y ) A g l
o e o Fl rco ,
n e . o e n ce

G i rgi
o P rtr a i t
on e , B rl i o . e n .

Ti t i a Sa r d
n, d Pr fa L v (det ail) R m
c e an o ne o e . o e

Ti t r tt
n o e R m vi g B dy f S t M a r k
o, e M ila o n o o . . n

Pa l V S h l I dus try V i ’
o o e r o n e se s c oo ,
n . e n ce

Pa l ma V h i H ly F m i l y
e cc V i o, o a . e n ce

B rd
o T h L v rs
on e , M il a e o e . n

Bassa La arus V ni
no , z . e ce

Br i
on z n o ,Ch ri st i H a d s Fl r n e . o e n ce

D a i l d V lt rr a D s t R m
n e e a o e ,
e cen . o e

G ui d R i S t M i h a l
o en R m , . c e . o e

A ll r i J udi th
o ,
Fl r . o e n ce

C a r ava g g i D p s i ti oR m. e o on . o e

Ti p l
e C a l va ry
o o, V i . e n ce
 LI S T OF ILL USTRA TI ON S
72 . S eg a tin l ugh i g ni , P o n

73 ° F q t S t S t ph
ou ue d D
,
r B rl i
. e en a n on o . e n

74 . C l aud L rr a i La ds ap M uni h
e o n, n c e . c

75 M ig a rd H pn Pa r i s ,
o e .

76 . La r t Th D a
nc e B rli
,
e n ce . e n

77 V an L M a ri L oo ,i ki Pa ri s e e cz n s .

78 . Gr u e Vill ag Brid Pa ri s
ze , e e .

79 ° D avi d Pius VII Pari s ,

.

80 . I g r s (E dip
n e d S ph i x
,
Pa r i s us an n .

G ér a rd M m R a mi r ,
Pa ri s e . ec e .

G eri ault Th R a
c ,
e ce

D l a r i x M assa r f S i Pa ri s
e c o ,
c e o c o .

Fr m t i
o H r s s a t a F rd
en n, o e o

C r t La d s ap
o o ,
n c e

R uss au La d s ap
o e N w Y rk
,
n c e . e o

Tr y o C a ttl
on . Pa ri s e .

J a q u S h p i La d s ap Pari s
c e, ee n n c e .

M ill t Th G l a rs
e ,
Pa ri s e e ne .

B ug u r eau M a d
o e a f C s l a ti ,
Pa r i s on n o on o on .

H enn e r Fabi l a ,
o

P i d C h ava
uv s s S rb e D rati Pa r i s
nn e ,
o on n e e co on .

C u b t D r R tr a t
o r e ,
Pa ri s ee e e .

D agn a B uv r t M a d a N w Y rk
n- o e e ,
o nn . e o

M a t B y wi th S w r d
ne ,
N w Y rk
o o . e o

R en o i r G irl s a t Pi a
,
Pa r i s no .

Sa h
nc C ll P rtr a i t f C l a r a E ug i a
e z- oe o, M a dr i d o o en .

II G r C ru i fixi
eco , M a d id c on . r

V las qu I fa t Phi lip Pr sp r Vi a

e ez , n n e o e . en n

M u ill M a d
r a d C h il d Fl r
o, o nn an . o e n ce

G y a P rtr a i t
o ,
M ad id o . r

1 02 . F t
or u n y S rp t C h a r m r Balti m r
,
e en e . o e

1 03 . S r ll a A ft r t h B a th
o o ,
e e

1 04 . V an E y k S i gi g A g l s (d t a il )
c ,
B rl in
n n n e e . e

1 05 . V an d W yd er Pi t a Bruss l s e en , e . e

1 06 . B ut s G a t h r i g M a
o ,
a Mu i h e n nn . n c

1 07 . M mli g B a rb a r a d Vl
e n ,
d b gh B russ l s e a en er er e . e

1 08 . D avid Bap tism f C h ris t Brug s

,
o . e

1 09 . M tsy s M a d
e a B rli
,
on n . e n

1 10 . M r M a rg a r t f Pa r ma B rli
o o, e o . e n

1 1 1 . R ub s R s rr t i
en ,
f La a rus e u B rl i ec on o z . e I]
.

1 1 2 . R ub s J a q u li
en d C rd s
,
c B russ l s e ne e o e . e
 LI S T O F ILLUS TRATI O N S
V an D y k P rtra it M il a c ,
o . n

C r li s d V Pa i t r s D aug h t r s B rl i
’
o ne e os , n e e . e n

S t v s O th B a h
e en ,
n e e c

O w t
u R surr t i
a er , f La a rus B rl i e ec on o z . e n

Lu as V L y d M a d a B rli
c an e en , o nn . e n

H a l s Laug h i g C ava l i r
,
L d n e . on on

R m b r a d t P rtr a i t
e P tr g r a d
n ,
o . e o .

S ask i a C ass l . e

r r h Th C
Te b o c rt B rli ,
e o n ce . e n .

Pi t r d H
e e h I t ri r e A ms t rd am ooc ,
n e o . e

V r m r f D l ft P rtr ai t Th H agu
e ee o e ,
o . e e

R ui s d a l La d s ap e ,
n c e

Is ra l s Al i t h W rld
e ,
one n e o

D ii C h ri s t
r er , C r ss Dr s d on o . e en

H lb i
o M ad
e n, a D a rms tad t on n .

P rtr a i t Vi a o . en n

C r a a h Fl ig h t i t E g y p t
n c ,
B rl i n o . e n

L b h P rtr a i t
en ac N w Y rk
,
o . e o

Uh d C h ri s t i t h G a rd
e, n e en

Th o ma Land s ap ,
c e

Li b rma O th B a h
e e nn , n e e c

H g a rth M a rri a g a l M d
o ,
L d e a o e . on on

R y
e l d s La dy C k b ur d C h ildr
no ,
L d oc n an en . on on

G a i s b r ug h M
n S id d s
o o L d ,
rs . on . on on .

M rl a d T h I
o n ,
e nn

T ur r Fi g h t i g T é m ér a i r
ne ,
L d n e . on on

C s t a b l Th C tt a g
on L de, e o e . on on

M ill a i s V a l f R s t L d
,
e o e . on on

Bu r J s L v am g th Rui s
ne- one ,
o e on e n

L ig h t La h ry ma N w Y rk
e on , c e . e o

W a tt s L v ,
d D a th o e an e

C p l y La dy W t w rth
o e ,
N w Y rk en o . e o

H a rd i g J h R a d l p h f R a k
n ,
W as h i g t
o n n o o o no e . n on

J a rvi s H ry C l ay N w Y rk
,
en . e o

D i d La d s ap N w Y rk
'

Lr a n ,
n c e . e o

H m r M a ri
o e N w Y rk
,
ne . e o

I ss La d s ap
nne ,
n c e

S a rg t Men I H am ilt
,
rs . an on

A l xa d r W a lt W h i t ma
e n e N w Y rk,
n . e o

H en ri Y u g W ma i Bl a k
,
o n o n n c
 G E N E RA L BI BL I O G R A PH Y

H I S is a limi t ed li st of th e a ccessib l e b ooks that tr e at of

p ai n t i n g a n d i t s h i st o ry i n g e n e ral Fo r w o rk s on sp eci a l .

p e ri od s o r schoo l s s e e t h e b i b li og rap h i cal r e f e r e n ces at t h e

h ead of e a ch chap t e r Th e t itl es a re u sually ab b r eviat e d b u t ar e
.

su ffi ci e n t f or r ec o g ni t i on A n y lib raria n o r b oo k s e ll e r c a n supp l y

.

full in form at ion ab ou t th e m on d em an d I t i s d esi rab l e that t h e .

l ast e di t ion b e al w ay s d eman de d For that r e a son an d t o avo id .

co n f u si on t h e dat es h e r e in a r e fr e q u e n tl y o mi tt e d .

D I C TI O N A R I E S

BRYA N , D i cti ona ry f

o P a i n te rs a nd E ng r a vers (W il l iam son e di t i on ) .

L on d o n
"

C H A M PLI N A ND PE RKI N S , Cyclopedi a o f P a i n ter s a nd Pa i n ti n gs .

N ew Yo rk ,
1 88 7 .

E n cyclope di a B r i ta nn i ca ( r1 th e di t i on ) . L o n do n , 1 91 0 .

L AR O U S S E , Gr a n d D i cti on n a i r e Un i ver sel . Pa i rs .

M E YE R 7 1llgemei n es K itn stler L exi k on L e ip zig

,
-
.
,
1 872 —
1 88 5 .

M E YE R , K on ver sa ti on s—L exi leon L e i p zi g . .

THI E M E UN D BE CKE R ,
A llgemei n es L exi /eon der bildend en Ku nstler .

L eip zig , 1 9 0 8 .

W URZ B A H , C N i eder la ndi scli es K u n stler L exi k on -

. W i en ,
1 910 .

C A TAL O G UE S

B esch rei ben des Ver zei ch n i s der Gemalde i m K oi se Fr i edr i cli
'

r -
M u seu m .

rl
B e in , (
1U n
9 a
1 b r
3 id.
g e d )
Ca ta logu e of N a ti on a l Gallery L ond on ,
.
(Un ab ridg e d ,

C a ta log u e of Wth e
a llace C ollecti on L o n d on 1 9 1 3 .
, .

Ca ta logu e of Pai n ti n gs M etr opoli tan M useu m of A rt

. . N ew York ,

1 91 4 .
xviii G E N E RA L B B I LI O G RA PH Y
C a ta logu e f o A rt I n sti tu te . C h ica g o , 1 914 .

C a ta logu e of tt s bu rgh
Pa i n ti ngs , C a r n egi e I n sti tu te . Pi .

Ca talog u e of Pen n sylva n i a A c demy of F i n e A ts Ph il a de l p h i a a r . .

Ca ta logu e of th e W i lsta ch C ollecti on F a i r mou n t P a k Ph i l a d e l p h ia , r . .

Ca ta log u e h i stor i qu e et descr i ptif des Ta blea u x n ci en s d u M u s ée d e a

B r u xelles par A J W a u ter s B russ e l s 9 06 . . .

,
1 .

Ca ta log della R Pi n acoteca di Br er a con cen n o stor i co di C or ra do

o .

Ri cci B e rg a m o 9 0 8
.
,
1 .

FRI Z Z O NI L e Ga ller i e dell A cc demi a Ca rr a r a a Berga mo B e rg a m o

’

,
a .
,

1 90 7 .

Gu i da del M u seo N a zi on a te di N a poli Ca ta logo di A ld o de Ri n a ldi o

’
. .

N ap o l i , 1 9 1 1 .

PE R I O D I C A L S

A mer i ca n J r
ou n a l o f A r ch ceol ogy . N ew Yo rk .

r
B u li n gton M a ga zi n e . L o n do n .

Di e K u n st . M u n i ch .

Gazette des B eau x A r ts . rsPa i .

I n tern a ti on a l S tudi o . N e w Y o rk .

J a h r bu ch der K on i gl Pr eu ss K u n stsa mmlu ngen . . . B e in rl .

Ro m e
’
L A r te . .

Rassegn a d A r te
’
. M il an .

f
Z ei tsch r i t f ur bi lden de Ku nst . B e in rl .

IL L U S TR A T O N S I N B O O K FO R M I
A r t Ga ller i es of E u r ope (N e w n es u l t
P b i ca i o n ) . L o n do n .

Cla ssi cs i n A r t, B R E N TA N O , 1 91 4 .

D I E D E RI CH ,
D i e K u n st i n Bi lder n . Jen a ,
1 9 09 .

GO WA N S ,
A r t B ook s .
9 09 L o n do n , 1 .

H A N F S TA E N G L , N a ti on a l Ga llery , L on don ; Old Pi n a coth eh , M u n i ch ;

H er mi ta ge , S t P eter s bu r g; B er li n , D r esden , C a ssel , A mster da m ,
.

H a gu e , H a a r lem ga ller i es .

K N A C KF U S S , K itn stler -M on a graph i en l efe l d . Bi e ,

1 9 00 .

M a sterpi eces of Pa i n ti n g . S t o k e s N e w Y o rk ,
.

RI CCI , Ra ccolte d A r te; C ollezi on e di M on ograji e i ll ustr a te Ber

’
.

g amo ,
1 9 08 .

Uni versi ty Pri n ts, B u r ea u of Un i ve rsi ty Tr a vel . Bo s to n .

 I N T R O DUC TI O N

TH E o r igin of pai n ti n g is u n k n ow n Th e fir st impo r tan t

.

r e c o r ds of this a r t a re m e t wit h in E gyp t ; but b e fo r e th e

E gyp tia n civil i z atio n th e m e n o f th e e a rl y ag e s p r obably
us e d co l o r in or n am en tatio n a n d d e corati on a n d t h e y c e r ta in l y,

sc r atc h e d th e outli n e s of m e n an d an imals u p on b on e a n d slat e .

T r ac e s o f this r ud e p r imitiv e w o rk still r e main to us on th e

pott e r y w e ap on s an d st on e imp l e m e n ts o f th e cav e —dw el l er s
, ,
.

Bu t whil e i n dicatin g th e awak e n i n g of in t e llig e n c e i n e a rl y

m an t h e y c an b e r e ck on e d with as art o nl y i n a S lig h t ar ch aeo
,

l ogical way T h ey sh ow in cl in ati on r ath e r t h a n accomplish

.

m e n t a wis h t o o rn am en t o r to r ep r e sen t wit h o n l y a c r ud e ,

kn ow l e dg e of th e way to go about it .

T h e fi r st aim o f this p r im itiv e pai n tin g was p ro bab l y d e c

o r ati on th e usin g o f c o lor e d f o r ms for c ol o r an d f o rm o n l y ,

as S h o wn in th e p o tt e ry d e sign s o r c ro ss h atc h i n gs on st o n e -

k n iv e s o r sp e a r h e ads Th e se c on d an d p e r h aps lat e r aim

-
.
, ,

was by imitati n g t h e S h ap e s an d col o r s of m e n a n i mals a n d , ,

t h e l i k e t o c on v e y a n id e a of t h e p r op o rti o n s a n d Ch a r act e r s
,

o f suc h t h i n gs A n outli n e of a cav e b e a r o r a mammot h

.
-

was p e r h aps th e cav e dw e ll e r s way of t e llin g his f e l l ows w h at

-
’

mo n st e rs h e h ad S l ai n W e may assum e t h at it was pict o r ia l

.

re cord primitiv e pictur e writt e n hi sto ry T h is e a rly m e t h o d

,
-
.

of c on v e yi n g an id e a is i n i n t e n t substa n tial ly th e sam e as

, ,

th e l at e r h i e r o glyphic writi n g a n d h isto r ica l pai n ti n g o f th e

E gyptia n s . T h e diff e r e n c e b e tw ee n t h e m is m e r e l y on e of
d e v e lopm en t T h us t h e r e is an i n dicatio n in th e a r t of Pr im
.

i tiv e M an of two d iff e r e n t pict o r ia l motiv e s e xist e n t to day -

D e co r atio n a n d R e pr e s e n tatio n .
 I NTRO D UCTIO N
Pu r e D e co r ativ e Pain ti n g is n otusua ll y e xp r e ssiv e o f id e as
ot h e r t h a n t h ose o f patt e rn rhyt hmical l i n e an d h a r mo n ious
, ,

c o lo r It is n o t o u r subj e ct T hi s v ol um e t r e ats of R ep r e
.
.

s e n t a t i v e o r E xp r e ssiv e Pai n t in g ; but i n d e ali n g wit h t h at

it sh o ul d b e bo rn e in min d t h at R ep r e s en tativ e Pain tin g h as

alm o st a l ways a p o sitiv e d e co r ativ e eff e ct acc ompa n yi n g it ,

a n d t hi s must b e k e pt i n mi n d fo r n o o th e r r e as o n t h a n t h at

t h e pai n t e r has it i n m in d a n d usually c o n sid e r s it a l e a di n g

m o tiv e W e shall p r e s e n tly se e th e i n t e r mi ngli n g o f b o t h k in ds
.

of pai n ting in th e ar t of a n ci en t E gyp t ou r fir st i n qui r y .

 H I S T O R Y O F PA I N T I N G

C H A PTE R I

E GY PTI A N PA I N TI N G

B O O K S R E C O MM E N D E D " B r e ast e d , H i stor y of E gypt; B udg e ,

D i vellers on th e N i le; H i story of E gypt; Th e M u mmy; C ap a r t ,
P ri mi ti ve A r t i n A n ci en t E gypt; C atal o gu e g é n é ra l d u M us é e
du C air e ; D u n ck e r , H i stor y of A n ti qu i ty; E gypt E xplor a ti on
Fu n d M emoi r s; E rma n , L ife i n A n ci en t E gypt ; Fl in d e rs
Pe tri e , A r ts a n d C r afts of A n ci en t E gypt; E gypti an D ecora ti ve
A r t; L epsius , D en kmaler a u s A egypten u nd A eth i open ; M as
‘

p e r o , A r t i n E gypt; E gypti a n A r ch aeology; E gypti a n A r t; L if e

i n A n ci en t E gypt a n d A ssyr i a ; Pe rr o t a n d C h i pi e z , H i story of
A r t i n A n ci en t E gypt; W ilki n so n , M ann er s a nd Cu stoms of
th e A n ci en t E gypti a n s

LA ND A ND L
PE O P E " as H e r o d o tus h as said is
E gypt , ,

th e gift O f t h e N il e o n e o f th e lat e st o f th e e arth s g e olog

” ’
,

ica l f o r mati on s an d y e t on e of th e e ar l i e st c o un tri e s to b e

,

s e tt l e d an d d o mi n at e d by m an It c on sists n ow as in th e
.
,

a nci e n t days o f th e vall ey of th e N il e b o un d e d o n th e e ast

, ,

by th e A rabian m ou n tai n s an d on th e w e st by th e L ibya n

d e se r t W e l l wat e r e d an d f e rtil e it was doubt l e ss at fi r st
.
-
,

a pasto r a l an d agric ul tural c o u n try ; t h en by its riv e r in e

,

t r afii c a c omm e rcial cou n try a n d fin a ll y by co n q u e st a

, , , ,

l an d e n r ich e d with th e sp oi ls o f warfa re .

Its e a r li e st r e cords S h ow a str on gl y e stab l ish e d mo n a r ch y .

D y n asti e s o f ki n gs cal l e d Phara oh s succ e e d e d o n e a n o t h e r

2 H I S TO R Y O F PA NT N G I I
by bi r t h T h e ki n g mad e th e l aws judg e d th e
‘

p e opl e d e clar e d war a n d was m o n a r c h supr e m e N e xt to

, ,
.

h im in ra n k c am e th e p ri e sts w h o w e r e n o t on l y in th e s e r v
,

i ce o f r e ligi o n b u t i n that o f th e stat e as coun s e llors s e c r e

, ,

tari e s a n d th e l ik e Th e comm on p eopl e wit h t r u e O ri en ta l

,
.
,

l ack o f i n di viduality d ep e n di n g bli n dl y on l e ad e r s w e r e

, ,

l ittl e mo r e than t h e s e r va n ts of th e u pp e r class e s .

Th e E gyptia n r e ligi on e xistin g i n th e e arli e st days was

, ,

a w o rship o f th e p e r son ifi e d e l e m e n ts of n at ur e E ac h e l em e n t .

had its particul ar c o n t r o ll i n g g o d wo r sh ipp e d as such L at e r

,
.

o n i n E gyptia n h istory t h e n umb e r of gods was i n c r e as e d a n d ,

e ac h city had its t r i n ity o f g o dl ik e pr o t e ct o rs symboli z e d

by th e propy l ae a of th e t e mpl e s Futu r e l if e was a c e r tai n ty

.
,

p r ovid e d that th e K a o r spirit did n o t fall a p r e y t o Typ h o n

, , ,

t h e G o d o f E vil duri n g t h e l o n g wait i n th e t o mb f or th e judg

,

m e n t day Th e b e li e f that th e spirit r e st e d in th e body

-
.

u n til fin ally tran sp o r t ed to th e a aln fi e lds (th e Islan ds of th e

B l e st aft e r ward ad opt e d by th e G r ee ks ) was on e r e as on fo r
,

th e car e f ul pr e s e r vati on o f t h e b o dy by mumm ifyi n g p r oc e ss e s .

L if e its e lf was n ot m o r e imp o rta n t tha n d e at h H e n c e th e .

im p o si n g c e r em on i e s o f th e fun e ral an d burial th e e labo r at e ,

r ichn e ss of th e mummy case th e papy r us r olls t h e pain t e d

, ,

busts t h e ca n opic ja r s t h e walls a n d do o rs o f th e t omb its elf

, ,
.

F r e qu e n tly e v e ry availab l e spac e i n t h e c h amb e r was fil l e d

with sc e n e s from th e lif e of th e d e c e ase d a n d e v e ryw h e r e , ,

o n sc u lptu r e i n t h e r o u n d as w e ll as o n t h e flat wall c o l o r was ,

u se d with th e most brillia n t efl e c t Pe rh aps th e first E gyptian

.

a r t ar o s e throug h r e ligious obs e rva n c e an d alm o st c e r tai n ly

,

t h e first k n ow n t o us was s e p u lch r a l i n n atu r e .

AR T M O TIVE S " T h e c e n tr e of t h e E gyptia n syst e m was

t h e m o n arch a n d h is supp o s e d r e lativ e s th e g o ds T hey

,
.

ar r o gat e d t o th e ms e lv e s th e chi e f th o ught of l if e a n d th e a im ,

of th e g r e at bulk o f th e art asid e f rom s epulc hr a l d e c o r atio n

, ,

was to gl o r ify mo n arch y o r d e ity Th e massiv e buil di ngs

.
,
 EG Y PT IA N PAI NT N G I 3

stan ding to day -

in bui l t as
r ui n s, dw ll i g p l ac e s of
.
w er e th e e n -

kin gs o r as th e san ctua r i e s of gods T h e t ow e r s symb ol .

i ze d d e ity th e scul ptu r e s a n d pai n ti n gs r e cit e d th e fu n c

,

t i on al duti e s o f p r e sidi n g spi r its or t h e Ph ara o h s l oo ks a n d

’

acts A l most e v e r yt h i n g ab o u t th e p ublic buildin gs in pa in t

.

i ng a n d scul ptu r e was symbolic i ll ust r ati on pictu r e writt e n ,

-

h ist or y w r itt e n wit h a chis e l a n d b r ush w r itt e n l a rg e t h at ,

a ll mi g ht r e ad T h e r e was n o ot h e r saf e w ay o f p r e s e r vi n g
.

r e co r d Th e r e w e r e n o bo oks ; th e papy r us sh ee t us e d ext en

.
,

FI G . I .
— G EESE O F ME DU
N . ME MP HI TE P E RI O D .

S iv ely , was f r a il a n d th e E gyptian s e vid e n t l y wish e d t h ei r

,

buil di n gs carvi n gs a n d pai n ti n gs to l ast i n t o e t e r ni ty S o

, ,
.

t h ey w r o ug h t in an d upo n st on e T h e sam e hi e r og l yp h ic .

c h a r act e r of t h e i r papyr u s writi n gs app e ar e d cut an d colo re d

o n th e palac e walls a n d ab o v e th e m a n d b e sid e th e m t h e
,

pictu r e s (som e tim e s pai n t e d flat a n d som e tim e s in r e l i e f or

wit h a chi se ll e d o utli n e) r a n as vign e tt e s e xpla n ato ry of th e
t ext Th e t ombs o f th e Ph a r ao h s p e rp e tuat e d histo r y in a
.

simil a r man n e r W it h t h os e o f th e c ommo n p e opl e th e r e

.

was l e ss o st en tatio n T h e i n dividua l was o f l e ss imp o rta n c e

.

t h an th e mo n a r c h an d y e t acco r din g to h is r a n k e ac h on e h ad
4 I
H STO R Y I
O F PA N T N G I
se t fo r t h th e dom e stic sc e n e s o f h is lif e a n d was gl o r i o us at
l e ast i n d e at h .

I n o n e f o r m o r a n o t h e r it w a s al l r e cord o f E gyptia n lif e ,

but t h is was n o t th e o n ly m o tiv e o f th ei r pai n ti n g T h e .

t e mpl e s a n d palac e s d e sig n e d to shut o u t l ight a n d h e at

, ,

w e r e l on g s qu a r e s o f h e avy st o n e gl oomy as th e cav e f r om

,

whi ch th e i r p l a n may hav e o r igi n at e d C arvin g an d c o lor .

w e r e us e d to b right en an d enl iv en th e i n t e ri o r T h e battl e s .

,

t h e judgm e n t sc e n e s t h e Ph a r a o h playi n g at d r aughts wit h

,

h is wiv e s th e r eligi o us r it e s a n d c e r e mon i e s w e r e all giv en

, ,

wit h gay arbit r a r y co l o r su rr oun d e d o ft e n tim e s by bord e r i n g

,

ban ds o f g re e n y ell o w an d blu e C ol o r s h ow e d e v e ryw h e r e

, ,
.

f ro m fl oo r to c e il i n g E v en th e e xplan at o ry hi e r oglyp hi c
.

t e xts cut with th e chis e l r an i n col o rs li n in g th e walls a n d

, , ,

wi n di n g a r o u n d th e cylin d e rs o f sto n e T h e l o t u s capitals .

,

t h e fri e z e a n d arc h it r av e al l glow e d wit h b r ig h t hu e s a n d

, ,

o ft e n th e r o o f c e il i n g was pai n t e d in b l u e a n d studd e d wit h

gold en stars .

A ll t h is shows a d e co r ativ e m o tiv e i n E g yptia n pai n ti n g ,

a n d h o w co n sta n tly this was k ept i n vi e w may b e s e e n at

tim e s in th e a r ra n g e m e n t o f th e di ff e r en t sc e n e s th e larg e ,

o n e s b e i n g p l ac e d i n th e mid dl e o f th e wal l an d th e small e r

o n e s g o i n g at t h e top a n d bott o m t o act as a f r i e z e a n d
,

dado T his appli e s a l so t o th e sc en e s fr o m dom e stic lif e

.

sh own i n th e tombs E v e n th e last r e sti ng p l ac e o f th e

.
-

mummy was mad e b r illia n t i n c o l o r d e co r ativ e i n its d e ,

sig n s T h e r e w e r e t h en two l e adi n g motiv e s fo r E gyptia n

.
, ,

pai n ti n g " (1 ) Histo r y m on a r c h ical r e ligious o r d om e stic ;

—
, ,

a n d (2 ) D e c o rati o n .

TE C H N I C A L M E TH O D S " M an i n t h e e ar l y stag e s o f civi l

i za tio n compr e h e n ds o bj e cts m o r e by li n e tha n by c o l o r or

light T h e fig u r e is n o t st u di e d i n its e lf but i n its su n shad ow
.
,
-

or S ilh ou e tt e T h e E gyptia n hi e roglyph r epr e se n t e d o bj e cts

.

by outli n e s o r a rbitra r y marks an d c on v e y e d a simpl e m e a n i ng

6 H S TO RI Y O F PA N T N G I I
fia t f ro t vi w
n e .h r T v ry
e e are ful l fac e d figu r e s am on g
e f ew -

th e r e mai n s of E gyptia n pa i n ti n g A ft e r th e out l i n e was .

d r awn th e e n cl os ed spac e was fil l e d i n w i t h p lain c o lo r I n '

th e abs e n c e o f h ig h lig h t o r compos e d groups p ro mi n e n c e

, ,

was giv e n to an imp o r ta n t figu r e l i k e t h at of th e ki n g by , ,

maki n g it muc h la rg e r t h an th e ot h e r figu r e s T his may b e .

s e en in any of th e battl e pi e c e s of R am e se s II i n w h ich th e

-
,

mo n a r c h in his Ch a r iot is a gian t w h e r e hi s f oll ow e r s ar e m er e

pygmi e s I n th e absen c e of p e r sp e ctiv e r e c edi n g figu r e s of
.
,

m en or of h o r s e s w e r e giv e n by mul tipli e d o ut l i n e s o f l e gs ,

o r h e ads plac e d b efo r e o r aft e r o r r ais e d abov e on e an ot h e r

, , , .

Fl at wat e r was r e p r e s e n t e d by zig zag l i n e s plac e d as it w e r e ,

upo n a map on e t r ee symbo l ize d a fo r e st an d on e fo r tification

, ,

a t own .

T h e s e out l i n e d r awi n gs of th e h uma n figu r e w e r e n o t r e a l istic

i n any e xact s e n s e T h e fac e was g e n e r al l y e xp r e ssio nl e ss
.
,

th e figu r e e vid e n t l y d on e f r o m m e mo r y or patt e rn did n o t

, ,

r ev e al a n at omical st r uctur e e xc ept in a g en e r al way but was , ,

n e v e r t h e l e ss grac e f ul I n t h e r e p r e s en tatio n o f a n ima l s a n d

.

bi r ds th e r e was oft en sh own a d e cid e d r e alistic spi r it e sp e ciall y ,

in th e matt e r of motio n A t tim e s as wit h g o ats cattl e

.
, , ,

a n t el op e s mo n k eys g e e se ducks t h e r e is v e ry shr ewd c h a r

, , , ,

a c t e r i za t i o n Thi s app e a r s again o ccasio n al l y in flow e r s

.
,

r e e ds a n d t ree s Th e colo r was usually an att empt at n atu re

,
.
,

t ho ug h at t im e s a rbit r a r y o r symb o lic as in th e cas e of c e r tain ,

g o ds r en d e r e d wit h b l u e y e ll o w or g r ee n ski n s M en w e r e
, ,
.

usuall y giv e n wit h r e ddish ski n s ; w om e n wit h y e ll o w S ki n s .

T h e backg r o u n ds w e r e usually of flat color arbit r a r y i n h u e , ,

a n d d e corativ e On ly T h e y w e r e ill umi n at e d r at h e r t h a n

.

pai n t e d i n a m o de r n s en se Th e o n ly compositio n s ee ms to
.

h av e b e en a balan c e by n umb e rs a n d th e p r o c e ssio n al sc en e s ,

ros e ti e r u p on ti e r ab ov e on e an oth e r in l on g pan e ls .

S uc h work w oul d s e e m alm o st ludic r ous did w e n o t k e e p

i n mi n d its r e aso n fo r e xist en c e It was fi r st symbo l ic sto r y.
, ,
 EG YPT I AN PA NT N G I I 7

t e ll i n g a r t an d s e co n dl y archi t e ctu r a l d e co r atio n A s a

, ,
.

st o r y t e ll e r it was effe ctiv e b e caus e of its sim plicity a n d di r e ct

-

ne ss
. A s d e corati o n t h e r e p e at
,
e d e xp r e ssi o n l e ss fac e a n d
figur e th e ar bit r a r y c o l o r th e absen ce o f p e r sp e c tiv e w e r e
, , .

n o t in app r o p r iat e th e n n o r a re t h e y n ow E gyp tia n pa in t i n g .

was a l ways l arg e ly c o n c e r n e d with th e d e c o rativ e m o tiv e .

W l a l pain ti n g was usual l y a n adju n ct of a r c h it e ctu r e a n d ,

FI G .
3 .
— A K
H E NA TE N A ND Q U EE N . S E CO ND TH E B AN P E RI O D .

p e rh aps o r igin all y gr e w o u t of sc ul ptu r e Th e e ar l y statu e s .

w e r e alm o s t al ways c ol o r e d Th e brush broug h t o u t fe atu r e s

.

in c o lo r t h at th e c h is e l coul d n o t i n dicat e O n wa ll spac e s .

t h e c hi s e l lik e th e flin t of Pr imitiv e M an cut th e o utlin e of

, ,

t h e figu r e . A t fi r st o n ly t hi s cut was fill e d wit h co l o r p r o ,

du cin g w h at h as b ee n ca ll e d th e koil a n aglyp hi c I n a l at e r .

stag e th e l in e was mad e by d r awi n g wit h c h a l k o r c o al on

p r epa r e d stucco an d th e co l o r mix e d wit h gum wat e r (a
, ,
-

kin d of di st e mp e r) was app l i e d to th e w h ol e e n clos e d spac e

, .
8 I
H S TO R Y O F PA N T N G I I
S ubsta n tially th e sam e m e th o d o f pai n ti n g was us ed up o n
o th e r mat e r ials s u c h as w oo d mumm y carto nn ag e papyrus
, , , .

T h e m e dium was a wat e r c o l or o r s o m e f o rm o f dist e mp e r

-
.

O il pai n ti n g was appar e n tly u n k n o w n o r at l e ast n o t us e d .

Pe n s a n d b r us h e s w e r e mad e fr o m r e e ds a n d h air a n d ,

wood en pa l e tt e s h e l d th e few primitiv e c ol o r s us e d I n al l .

its t ho u sa n ds of y e ars of e xist en c e E gyptian pain tin g n e v e r

advan c e d up on o r vari e d t o any ext e n t its on e m e t h od of
work .

H I S TO RI C PERI O D S " T h e r e is som e e vid e n c e o f p r ehi st o r ic

a r t in E gyp t but as y e t it is n o t w e l l d e fin e d or accurat e ly

appr e ciat e d N 0 dat e is o ff e r e d fo r it but s e qu e n tial c h a n g e s
.
,

i n th e typ e s upo n p o tt e r y an d i n t o ols hav e b e en n o t e d Th e .

figur e s in th e r o un d ar e r ud e O ft e n Wi th o ut h an ds a n d f ee t
, ,

a n d th e c o lori n g us e d on th e sto n e is re d with w hi t e a n d b l a c

'

Pai n ti n g of a c r ud e n atu r e app e a r s als o o n p o tt e ry a n d s h o ws

,

som e t im e s m en but mo r e O ft e n suc h ani mals as th e g o at an d

,

hipp opotamus Pe r haps th e d e v e l opm en t o f t h is e arly art

.

gav e to lat e r E gyp tian a r t its charact e r istic asp e ct ; but so fa r

t h e th o u g h t is m e r e ly sp e cul ativ e .

M e m ph i te P e ri od A r t that is p e c ul iar l y an d p o sitiv el y

.

E g yptia n b e gi n s fo r us wit h t h e M e mp h it e p e r i o d w h e n t h e
s e at of g o v e r nm e n t was at M e mp h is i n L ow e r E gypt T h e r e .

is n o c e r tai n dat e for th e p e ri o d a n d th e dy n asti e s o f ki n gs ar e

assig n e d appr oximat e ly o nl y It was th e ag e o f C h ep h r e n
.
,

C h e ops a n d th e g r e at py r amid build e rs

,
t h e gold e n a g e
appar e n tly o f E gyptia n a r t I n fact all E gyptian a r t lit
.
,
o
,

e r a t u r e la n guag e Civil i z ati o n

, ,
se em at th e ir h ig h e st p o i n t o f
,

p er f e ctio n i n th e p e ri o d farth e st r emov e d f ro m us I n that .

e arli e st tim e t h e fi n e st p o rtrait busts a n d r e li e fs w e r e cut ,

a n d t h e pai n ti n g fo u n d chi efly i n t h e t ombs a n d o n t h e

,

mummy case s was th e pr o n oun c e d r e alistic with n o t a l ittl e

-
,

of spi r it e d i n divid u ality T h e figur e was r ath e r sho r t an d

.

s q uat th e fac e a littl e squa r e r tha n th e c on v en tio n al type

,
 EG Y PTIA N PA N T N G I I 9

aft e rward ad opt e d th e a n at omy b e tt e r an d th e p o siti on s

, , ,

attit u d e s an d g e st u r e s m o r e t r ut h f u l t o l o ca l cha r act e r istics

, .

T h e d o m e stic sc e n e s hun ti n g fishin g tilli n g g r a zi n g w e r e

, , ,

all sh own in th e o n e flat p lan ele ss sh ad o wl e ss m e t h od o f

, ,

r epr e s e n tatio n b u t wit h gr e at e r t r ut h of c h a r act e r iz atio n an d

,

m o r e vari e ty than ap
p ea red l at e r o n S til l .
,

m o r e o r l e ss c on v en ti on a l
typ e s w e r e us e d e v en in ,

this e a r ly tim e an d con ,

ti n u e d t o b e u s e d al l
t hr o ug h E gyptia n hi s
t o r y T h e b e st quality
.
“H g
,

o f E gyptia n art was p r o

d u ce d d u r i n g th e f o u r t h ,

fift h a n d sixth dy n asti e s

,

of this p e ri o d A ft e r that
.

t h e r e s e ems t o h av e b e en
so m e d e cl in e .

Fi r s t Th e b a n Pe ri o d .

Th e M e mphit e p e ri o d
c om e s do wn to th e tw el f th
dy n asty Th e r e th en e m
.

t e r s a succ e ssi on of for 4

— M P P G FI G D EN E TA H AI N TI N or S E CO N
P D
. . . .

THE B A N E RI O
k in gs e rr on eo usly
'

e ig n ,

call e d th e Hyks o s w h o w e r e pr obab l y r e sp on sibl e for a r e viva l

,

a n d e nl arg e m e n t o f b o th sc u lp tu r e a n d pai n ti n g D uri n g .

this tim e th e r e we r e f o rc e ful charact e r iz ati on a n d m u ch

vig o r of sty l e in sc ul ptu r e i n t h e r o un d s om e fin e cutti n g in ,

low r e li e f a n d skill e d work i n flat pai n ti n g up o n t h e i n t e rio r

,

of t ombs Th e w o rk on th e w h ol e was n o t so g o od as in th e
.

e a r ly tim e o f M e mp h it e a r t t h oug h p e rh aps wid e r i n S cop e .

S e c on d Th e b an P e ri o d T h is culmin at e d i n T h eb e s in
.
,

Upp e r E gyp t wit h R am e s e s II o f th e n in e t een t h dy n asty

, , .
I O I
H S TO R Y I I
O F PA NT N G

Pai n ti n g h ad t h e n c h a n g e d som e w h at bot h subj e ct a n d in

Cha r act e r T h e tim e was o n e o f gr e at t empl e a n d palac e
.

buil di n g an d t h oug h th e pai n ti n g o f gen r e s u bj e cts i n t ombs

, ,

a n d s e p u lc h r e s c o n ti n u e d th e g e n e r al b o dy o f art b e cam e
,

m o r e mo n um en ta l a n d clos e ly associat e d wit h arc hi t e ctur e .

Pai n ti n g was p u t to wo r k o n t e mpl e an d pa l ac e wa ll s d epict -

,

i n g i n vari o us ki n ds of r e li e f wit h c o l o r p r oc e ssi o n a l sc e n e s

, ,

e ith e r r e l igi o us or m o n arc h ica l a n d vast i n e xt e n t

,
T h e fig .

u r e too c h a n g e d s o m e what
, ,
It b e cam e l on g e r slight e r wit h
.
, ,

a pr on o u n c e d n os e thi ck l ips an d l on g e y e F rom co n sta n t

, ,
.

r ep e titi on r at h e r than a n y se t ru l e o r ca n on t h is figu r e gr e w

, ,

co n v e n ti o n al a n d was r e pr o duc e d as a typ e i n a m e cha n ical

,

a n d u n va r yi n g ma n n e r fo r h u n dr e ds of y e ars It was a varia

.

ti o n of t h e o rigi n al E gyptian typ e s e en i n th e t ombs o f th e

e arli e r dy n asti e s b u t had l o st f o r c e a n d charact e r whil e g ai n

i n g g r ac e a n d m o v e m e n t T h e r e was a gr e at q u a n tity o f
.

a r t p ro d u c e d duri n g th e S e co n d T h eba n Pe r iod o f a d e c o rativ e ,

c h aract e r but it gr e w r ath e r m on o t o n o us by r ep e titi o n a n d

,

b e cam e fill e d wit h e stablish e d ma nn e risms T h e E gyp tia n .

at this tim e was n o t a fr e e w o rk e r n o t an a r tist e xpr e ssi n g

,

h imse lf ; but a skill e d m e cha n ic f oll owi n g tim e h on o r e d -

e xampl e . H ow v e ry skilful h e was may b e s e e n i n th e o u t

l i n e d r awi n gs mad e with on e c on ti n uo us st rok e wit h o u t i n t e r
p ol a t i o n o r e m e n dati on a n d grac e fu l t o th e l ast d egr e e for
e a rl y a r t . T h e facility o f both pai n t e r a n d sc ul pt o r at t his
tim e is e xt r ao r din ary Th is S e c o n d M emp h it e Pe r i o d e n ds
.

wit h th e tw e n ti e th dy n asty T h e n b e gi n s th e
.

S ai t e P e ri o d w h e n th e s e at o f e mpir e was o n c e mo r e i n
L ow e r E g ypt a n d art h ad visib l y d e cli n e d wit h t h e wa n i n g
,

pow e r of th e cou n try S p on tan e ity s e e ms t o h av e pass e d o u t

.

o f it it was r e p e titi o n of r ep e titio n by i n f e r i o r w o rkm e n a n d

, ,

t h e simplicity a n d pu r ity o f t h e t e ch n iqu e w e r e co r rupt e d

by f o r e ig n i n flu en c e s W it h th e A l e xa n drian e p o ch E gyptian
.

a r t cam e in c o n tact wit h G r e e k m e thods a n d gr e w imitativ e ,

 EG Y PTI A N PA NT N GI I I I

of th e n ew a r t to th e d e trim en t o f its ow n n ativ e c h aract e r

, .

E v en tually it was e n tir e ly l o st i n t h e a r t o f th e G r e c o R oma n -

world D ur in g t h is last p e r iod pai n tin g was alm o st a l ways

.

c o n v e n ti on al pr o duc e d by a m e t ho d almost as u n varyin g as

,

that of th e h i er oglyp h ic w r iti n g T e c hn icall y it h ad ma n y .

FI G .
5 . B ULL S IN A MA RS H . L A TE RE L F IE .

sh o r tcomin gs but it co n v e y e d th e p r op e r i n fo rmatio n to its

,

b e h o ld e rs a n d was s e r vic e abl e a n d grac e ful d e c o rati o n e v e n

to th e e n d A s o ft en h app en s t h e m e thod of th e art s u rviv e d
.

its S pi r it i n E gyp t an d r e p e at e d th e g r ac e fu l f o rmul ae aft e r

its l if e an d s o ul h ad d epa r t e d .

EXTA N T PA IN TIN G S " S m f t h t mp l s pa l a s d t m b s o e o e e e ,

ce ,
an o

of E gy p t s t ill r v a l E gy p t i a pa i t i g i a l m s t as p r f t a s t a t as
e e n n n n o e ec e

wh en ri g i a ll y x ut d ; t h G h i h M us um h ma y fi
o n e ec e e x
ze e as n ne e

amp l s ; d th r
e an um r us xamp l s i t h mus ums a t T uri
e e are n e o e e n e e n,

Pa ri s B rli
,
e L d
n, ond B ston , an A i t r s ti g o ll ti b l g s
on . n n e e n co ec on e on
1 2 I
H S TO R Y O F PAI NT N G I
to th e N e w Y rk s t ri a l S i t y d s m f t h l a t s t fi d s f
o Hi o c oc e ,
an o e o e e n o

t h H a r va r d U i v r s i ty E xp di t i
e n e i th B ste M us um R
on a r e nt e o on e . e ce n

an d i mp rt a t d i s v r i s h av b
o n co e e ma d b y M T h d r D av i s
e een e r . eo o e

o f N wp rt R I
e o , d s m,
an f th s o t e b s
o i th
e e M trar e o e een n e e o

p li t a M us um N w Y r k w h r t h s tud t w i ll fi d t h l a rg s t
o n e ,
e o ,
e e e en n e e

an d b s t a rr a g d
e n ll ti
e f E g y p t i a a t i q ui t i s i A m r i a
co ec on o n n e n e c .
1 4 I
H S TO R Y I
O F PA NT N G I
call e d g o ds an d o th e r m on str o us l oo ki n g c r e at ure s call e d
, ,

d e mo n s app e a r f r e qu e n tly o n th e cyli n d e rs a n d i n t h e bas

,

r e li e fs T h ey symb oli ze th e warfar e b e tw e e n g oo d a n d e vil

.
,

b e tw e e n light an d dark n e ss or th ey illustrat e l e g e n d o r myth ;

,

but th e y ar e h ardl y so r ep r e se n tativ e o r di r e ctly illustrativ e

as th e r e ligi o us figu r e s of E gyptian a r t N o r was th e r e a n y .

s u ch qua n tity o r spac e giv e n to r e ligi o us d e m on st r ati on i n

a r t h e r e as in E gypt B aby l on ia was m o r e h eedfu l o f r e ligi on
.

a n d its pri e stho o d t h a n t h e lat e r A ssy r ia whic h was d e v o t e d ,

t o t h e ki n g a n d warfar e ; but bot h c o u n tri e s w e r e e it h e r ,

o r igi n ally o r by i n flu e n c e S emitic in th e ir p e op l e s a n d r e ligio n

, ,

wit h t h e m was m o r e a matt e r o f th e S pi r it than t h e s e n s e s

a n imag e i n t h e mi n d rath e r tha n a n imag e i n m e ta l o r st o n e .

L it e ratur e was t h e ir Ch i e f m e dium o f e xp r e ssi o n rath e r tha n

-

art E v e n th e t e mpl e was n o t e labo r at e ly e l o qu en t w i th th e

.

acti on s an d d e e ds o f th e g ods se t fo r th i n fo rm an d c o l o r a n d ,

t h e t o mb that f r uitful s o urc e o f a r t i n E gypt was i n B aby

, ,

l o n ia u n d e c o rat e d an d in A ssy r ia u n k n own It is n o t y e t .

k n own what th e A ssyrian s did wit h th e i r d e ad u nl e ss th e y ,

carri e d th em back to th e fath e rlan d o f th e r ac e th e Pe rsian ,

G ulf r e gio n as th e n ativ e t r ib e s of M e sop o tamia do t o t h is

,

day .

ART M O TI VE S " A S i n E gypt t h e r e w e r e two motiv e s fo r

,

a r t il l u strati on an d d e c o ratio n R e ligio n was n o t th e .

l e adin g m o tiv e I n A ssy ria th e ki n g attract e d th e gr e at e st

.

att en tio n H e was th e on e aut o crat an d h is palac e s w e r e

.

mor e sumpt u o us by fa r t h an th e t e mpl e s of th e g o ds T h e .

cou n t l e ss bas r e li e fs cut on so ft st on e slabs w e r e pag e s f r om

-
, ,

t h e hist o ry of t h e mo n a r c h i n p e ac e a n d war i n c o u n cil i n , ,

t h e c h as e o r i n p r oc e ssi o n al r it e s
,
B e sid e h im a n d a r o u n d
.

h im his offic e rs cam e in fo r a sha re o f th e backg ro u n d g l o ry .

O ccasio n ally th e commo n p e opl e had r ep r e s e n tati o n s o f th e i r

liv e s a n d t h ei r pursuits but th e mai n subj e ct of a ll th e M e so
,

potamia n vall e y art w a s th e ki n g a n d his d o i n gs S c u lptu re .

 BA B YL I
O N A N— A S S YR IA N I
PA NT N G I I 5

an d pa in tin g w e r e l arg e ly ill ustrati on s acc ompa n yin g a hi story

writt e n in th e e v e r p r e s e n t cun e if o r m c h aract e rs
-
.

Bu t w hi l e s e r vi n g as hi st o ry l i k e th e pictu r e writi n gs o f
, ,
-

t h e E gyptia n s t h is ill ust r ati on was lik e wis e d e c o r atio n a n d

, ,

was d e sign e d wit h t h at e n d in vi ew R o ws upo n r ows of .

partly c o l o r e d h as r e li e fs w e r e ar r a n g e d lik e a dad o al on g th e

-

palac e wall an d ab ov e t h em wal l pai n tin gs or gla ze d til e s

-
,
-
,

FI G 6 — w11 D G O A Ts B RI TI S H M U UMSE .

F P
. . . .

( RO M E RR O T A N D CHI PIE z .
)

in patt e rn s ca rr i e d o u t th e c o l o r sch e m e A l m o st all of th e

,
.

c o l o r has n ow disapp e ar e d but it must hav e b e e n br ill ia n t at

,

o n e tim e a n d was d o ub tl e ss in h a r m o n y wit h t h e a r c hi t e ctu r e

,
.

B o t h pai n tin g a n d sculptu r e w e r e subo r di n at e t o a n d d ep e n d

e t up o n arc hi t e ctur e
n Palac e buildi n g was t h e c h i e f p u rsuit
— .
,

a n d t h e o t h e r arts w e r e call e d i n mai n ly as adju n cts orn a

m en tal r e c o rds o i th e ki n g w h o buil t .

TH E TYPE FO R M ,
C O L O R " T h e r e w e r e appa r e n tly o n l y
,

tw o disti n ct fac e s i n A ssyria n a r t o n e wit h a n d o n e wit h o ut

a b e a r d N e it h e r o f t h e m w a s a po r t r ait e xc ept as att r ib u t e s

.
1 6 I
H S TO R Y O F PA NT N G I I
or i n scripti o n s d e s ig n at e d T h e typ e was u n e n di ngly r ep e at e d
. .

W o m e n a r e s e e n i n o n ly a fe w is olat e d cas e s a n d e v e n th e s e ,

a re d o ubtf u l T h e warri o r a str o n g c o a r s e m e mb e r e d

.
, ,
—
,

h e avily muscl e d cr e ati o n with a h e avy fi e r c e S e mitic fac e

—
, , , ,

app e ar e d e v e rywh e r e T h e figur e was plac e d i n pr o fil e with

.
,

e y e a n d b u st twist e d t o S h o w t h e fr o n t V i e w a n d t h e l o n g f e e t ,

pr oj e ct e d o n e b e y o n d th e o th e r as i n th e N il e pict u r e s T his
,
.

was th e Babyl on ian A ssyria n id e al o f str e n gth dig n ity a n d

—
, ,

maj e sty e stablish e d pr o bably i n t h e e arly ag e s a n d r e p e at e d

, ,

f o r c e n t u ri e s with s o m e f e w charact e ristic variati on s Th e .

fig ur e was usually giv e n i n m o ti on walki n g o r r i di n g a n d , , ,

h ad littl e of that grace s e e n i n E gyptia n pa i n ti n g but i n its ,

plac e a gr e at d e al o f r u d e str e n gth I n m o d e lli n g t h e huma n .

,

f o rm w a s n o t so kn owi n gly r e n d e r e d as th e a n imal T h e .

l o n g E ast e r n cl o thi n g pr obably pr e v e n t e d th e cl o s e st u dy o f

t h e fig u r e T his fa i l u r e i n a n at o mical e xact n e ss w a s bala n c e d
.

i n part by m i n u t e d e tails i n t h e dr e ss a n d acc e ss o ri e s p r o d u c ,

tiv e o f a r i ch o r n am e n tal e ff e ct A s fo r th e a n imals s u ch as .

t h e li o n s g o ats w i ld ass e s d o gs th e y a r e giv e n i n t h e bas

, , , ,

r e li e fs with sup e rb f o rc e a n d charact e ri zati on N o thi n g c o ul d .

b e fi n e r o r m o r e e xpr e ssiv e o f lif e tha n s om e o f th e s e a n imals

sh ow n i n th e hu n ti n g sc e n e s up on th e S labs n ow i n t h e B ritish
M u s e um .

Hard st on e was n o t f o u n d in th e upp e r M e sopotamia n

r egi on s a n d ev e n i n t h e C hald aea n c o u n try l ow e r d own it ,

ap pe ar e d i n lim i t e d qua n titi e s T e mpl e s w e r e b u ilt o f bur n t

.

brick bas r e li e fs w e r e mad e u p on alabast e r slabs a n d h e ig h t

,
-

e n e d by c o l o ri n g a n d pai n ti n g w a s larg e ly up o n til e s

,
with ,

mi n e ral pai n ts aft e rward g la ze d by fire T h e s e gla ze d brick

,
.

o r til e s with figur e d d e sig n s w e r e fix e d up o n t h e walls arch e s

, , , ,

a n d archiv o lts b
y bit u m e n m o rtar a n d mad e u p th e first ,

m o saics o f wh i ch w e hav e r e c o r d T h e r e w a s a furth e r pai n t .

i n g up on plast e r i n dist e mp e r a n d u p o n p o tt e ry o f whic h , ,

som e few trac e s r e mai n It did n o t diff e r i n d e sig n from th e

.
 BA B YL O NI A N —A S S YR I AN I
PA NT N G I 1 7

bas r e l i e fs o r th e til e m o saics S o m e tim e s t e rra c o tta was

-
.
.
-

e mb e dd e d in t h e plast e r a n d t h e e ff e ct o f t h e walls was h e ig h t

e n e d by th e u se o f g o l d a n d br o n z e .

T h e subj e cts us e d w e r e th e B aby l oni a n A ssy r ia n typ e s h o wn -

,

so m ewhat S light e r i n pai n ti n g tha n i n sculptu r e a ni ma l s bir ds , , ,

tr e e s fl o w e r s r o s e tt e s an d arbit r ary patt e r n s T h e pai n ti n gs

, ,
.

w e r e usually n o t att e mpts at n atu r alistic r epr e s en tati on .

FI G 7
— E N A ME LL D B K F
E RI C R O M NHI R O U D

F P
. . . .

( RO M E RR O T A ND CHI PLE z .
)

Th e c ol o r was arbit r ary an d th e r e was littl e p e r sp e ctiv e lig h t ,

a n d shad e o r r e li e f
-
,
H e avy o utli n e ba n ds o f c ol o r app e ar e d
.

ab o u t th e O bj e ct an d th e pr e vailin g h u e s w e r e y e ll o w bl u e
, , ,

gr e e n re d T his bril lia n t if arbitrary c ol o ri n g w as a l s o u s e d

,
.

o n t h e Outsid e o f t h e t e mpl e s th e diff e r e n t st o n e s o r platfo r ms

,

b e in g pain t e d in diff e r e n t c ol o rs It w as all h ighl y d e corativ e

.

a n d n o d o ubt u s e d mai n ly f o r that pu r p o s e th o u g h th e r e was

pr obably so m e symb o lism b e hi n d it A s r e gards th e bas r e .

-

l i efs t h e r e was p o ssibly mo r e f e e li n g fo r p e r sp e ctiv e a n d spac e

1 8 I
H S TO R Y O F PA NT N G I I
as sh own in th e m o u n tai n la n dscap e s a n d wat e r t h a n in ,

E gyptia n art ; but i n th e mai n th e r e w a s n o adva n c e upo n

, ,

E gypt . T h e r e w a s a difl e r e n ce whic h was n o t n e c e ssar il y

a d e v e l opm e n t Pai n ti n g as w e k n ow th e art t o day was
.
,
-
,

h a r dl y p r actise d i n Baby l o n ia A ssy r ia It was n e v e r f ree

-
.

FI G 8 — E N A ME LL D B K BL U G U D
E RI C E RO N NI MRO UD
(F P P Z)
. . . .
,

RO M E RR O T A ND CHI IE .

fr om a s e rvit u d e t o archit e ct ur e an d sculptur e ; it was h am

p e r e d by c o n v e n ti o n aliti e s ; a n d th e pain t e r wa s m o r e artisa n
tha n artist havi n g littl e f r e e do m o r i n dividuality
, .

H I S T O RI C PE R I O D S " B abyl o n ia is a n am e that i n cl u d e s

C hald aea a n d t h e e arly p r o vi n c e s o f t h e Pe r sia n G ulf r e gi o n .

Th e Fi r s t E m pi r e i n th e T i gr i s E u phrat e s vall e y w as i n this

-

l ow e r Pe rsia n G u lf r egi on a n d h ad its s e at at B abyl on .

It b ega n hist o rically (fo r u s at l e ast ) wit h th e Ur dy n asty

ab o u t 2 5 00 B C T his w a s a C haldae a n o r S um e ria n dy n asty
.

a n d t h e civili zati o n it pr o duc e d w as n o t o n ly o rigi n al but

p roduc e d a n o r igi n al art Its sc u lptur e (e sp e cially i n th e

.
 BA B YL O N I A N —
ASS YR IA N I
PA N T N G I I 9

T e ll o h e ads) its cyl in d e r c u tti n g a n d g e ms a n d p r e sumably

, ,

its pain ti n g w e r e m o r e r e alistic a n d i n di vidual t h a n a n y

,

ot h e r in th e vall e y A ssyria lying hi gh e r up i n th e vall e y .

,

a n d c o mi n g lat e r t h a n B abyl on ia was t h e c o n q u e r o r a n d h e i r ,

o f B abyl o n ia W it h A ssyria cam e th e .

S e con d E m pi r e " A ssyr i a w a s mad e up of ma n y c on qu e r e d

p ro vi n c e s a n e xpan si o n of e mpir e as it w e r e ; but th e A ssy r
i an civil i z ati o n w as d e riv e d f r o m a n d was b e h ol d e n t o t h e old
Babyl on ia n civili z ati o n T h e r e w e r e tw o di sti n ct p e r i o ds of .

this S e co n d E mpi r e T h e first p e ri o d dat e s from ab o ut .

1 450 B C a n d i n a r t sh o ws a g r e at pr o f u sio n o f st r o n g bas

. .

r e li e fs Th e s e c on d p e ri o d b e gi n s with Tigla th p ile se r III

.
-
,

about 74 5 B C an d is th e p e ri o d of g r e at e mpir e e xpa n si on

. .

I n a r t t h e r e alistic c o n c e pti on s o f t h e tim e o f A ss u r n a z ir pa l - -

III w e r e c on ti n u e d u n d e r S arg on ; but lat e r o n u n d e r A ssu r ,

b a n ip al much d e c o r ativ e eff e ct with e laborat e d e tail succ e e d e d

,
.

A ft e r t h is e mpir e t h e B abylo n ia n p r ovin c e s gain e d t h e asc e n d

e n cy again a n d B abylo n u n d e r N eb u c h adn e zz a r b e cam e
, , ,

t h e first City o f A sia Bu t th e n ew B aby l on di d n o t l ast l o n g

. .

It f ell b e fo r e C y ru s a n d th e Pe r sia n s 5 3 8 B C A gain as in

”

. .
,

E gypt th e e a r li e st a r t app e a r s t h e pu r e st a n d th e S im pl e st
, ,

a n d th e y e ar s o f B abyl oni a n A ssyrian hi sto ry k n own to us -

ca rry a r e c o r d o f cha n g e r ath e r t h an o f prog r e ss in a r t .

XTA N T RE M A I N S T h m s t va lua b l ll ti s f B b yl
E " e o e co ec on o a o

n i a A ss y r i a
n- a rt t b f nd i th L uv r
ar e d th B ri ti s h
o e oun n e o e an e

M us um e Th t h r l a rg mus ums f E ur p h av ll ti s i t h i s
. e o e e e o o e e co ec on n

d pa rt m t b t ll f t h m
e en ,
m bi du li ttl
a mpa r d wi th t h
o e co ne are e co e e

tr asur s t h a t s till li b ri d i t h m u d s f t h Ti g ri s E up h r a t s
e e e u e n e o n o e -
e

vall y E x ava ti s h av b ma d a t M ug h i r W a r ka K h b d
e . c on e e en e e , ,
o r sa a ,

K y ou ji kun d l s ew h r b t ma y d i fli
,
an lti
e hav th us f r d r d
e e, u n cu es e ar en e e

s y s t ma ti w r k i mp ss i b l T h
e c o mp l t hi s t ry f B a b y l i a
o e . e co e e o o on

A ss y ri a d i t a rt h an y t t b w ri tt
s F a summa ry f t h
as e o e en . or o e

e x ava ti s
c M i ch a e li s " A C t r y f A h w l gi l D i
on se e ri en u o rc o o ca scove es .
20 I
H S TO R Y O F PA NT N G I I
PE R S A N I PA I N T N G I
B O O K S RE C O M ME N D E D " A S b e f o e cit e d , B a b e lo n , L e n o r r
u
ma n t ; D i e laf o y , L A r t A n ti que de la P ers e; Fla n d in e t
’

C o st e , Voya ge e n P e r se ; G ay e t , L A r t P e r sa n ;
’
sti , Geschi ch te Ju
des a lten P e r si en s; M asp e r o , Th e P assi n g of th e E mpi r es; Pe r
r o t a n d C hipi e z , H i s tor y of A r t i n P er si a ; T é xi e r , Voya ge en

A s i e M i n eu r e et en P er se .

I
H S TO R Y A N D ART M O TIVE S " T h e M e d e s an d Pe rsia n s
were th e n at ur a l i n h e rito r s of A ssy r ia n civi l i zatio n but t h e y ,

Fig .
9 .
— E NAM ELL D B K Y LL W
E RI C ,
E O AN D B LUE . NI MROUD .

(F P
RO M E RROT A N D CHIP I E Z) .

did n o t imp r ov e t h e i r bi r t h right T h e M e d e s soo n l o st t h e i r.

p ow e r C yr u s co n q u e r e d th e m an d e stablish e d th e p ow e rf u l
.
,

Pe rsia n m o n archy uph e ld for tw o h u n dr e d y e ars by C ambys e s ,

D ari u s a n d X e r x e s
, S ubsta n tially th e sam e c o n diti o n s s u r
.

ro u n d e d th e Pe rsia n s as t h e A ssy r ia n s that is so far ,

as art pr o ducti on w a s c o n c e r n e d T h e ir c o n c ept io n s o f lif e .

w e r e similar a n d th e i r u se o f art w a s fo r hist o ric ill u strati o n

,

of ki n gly d o i ngs a n d o r n am e n tal e mb e llishm e n t o f k i n gly

palac e s Bo th sc u lptur e a n d pa in ti n g w e r e acc e sso ri e s of
.

archit e ct u r e .
22 I
H S TO R Y O F PA NT N G I I
alo n g th e bas r e li e fs a n d gla ze d t il e s but th e figu r e was small e r
-
, ,

m o r e e fle m in a t e th e hair a n d b e ard w e r e n o t so lo n g t h e
, ,

drap e ry f e ll i n slightly i n dicat e d f o lds at tim e s a n d t h e re ,

was a p r ofusi on of o r n am e n tal d e tail S om e o f this d e tail .

a n d s o m e m o dificati o n s i n t h e figur e s h o w e d t h e i n flu e n c e

of for e ig n n ati on s such as t h at o f G r e e c e ; but i n th e mai n , ,

as in its b e gi nn i n gs Pe rsia n art f o ll owe d i n th e fo o tst e ps

,

o f A ssyria n art L at e r o n E gyptia n G r e e k a n d A sia M i n o r

.
, ,

i n flu e n c e s b e cam e str o n gly mark e d i n it A s th e empi r e .

e xt e n d e d its e lf t h e m o difyi n g e ff e ct o f di ff e r e n t p e op l e s i n

c o rp or a t e d i n t h e e mpir e w a s impr e ss e d u p o n t h e art It .

b e cam e mix e d hyb r id a n d fi n ally d eg e n e rat e It w as th e last

, ,
.

r e fl e cti on o f M e so p o tamian spl e n do r Fo r wit h th e c o n qu e st .

o f Pe rsia by A l e xa n d e r t h e b oo k o f m o n um e n ta l a r t i n that

vall e y w as p r actical ly close d a n d u n d e r Isl am it r emai n s , , ,

cl o s e d t o t h is day .

EXTA N T RE M A I N S " P r s i a pai ti g i s m t h i g a b u t e n n n s o e n o

w h i h l i ttl i k w b a s li ttl r mai s T h L uv r

c e s no n ec u t ai se e e n . e o e c on n

s m r
o e s tru t d fri s ma d i m sai s f s t amp d b ri k d
e con c e e ze e n o c o e c an

s q ua r ti l s h wi g fi g ur s f li s d a um b r f a r h r s T h
e e, o n e o on an n e o c e . e

co ol ri g i pa rti ul a rly ri h d m y g i v s m i d a f P r s i a p ig
n s c c ,
an a e o e e _
o e n

m t s A s id fr m t h h i f mus ums f E ur p t h b ul k f P r s i a
en . e o e c e e o o e e o e n

a rt i s ti ll s h a l f—b uri d i t h rui s f P r s p li s d l s w h r

s een e n e n o e e o an e e e e .

PH CE N I C I A N , C Y PR I O TE , A N D A S A I M I N O R PA I N TI N G
B O O K S R E C O MM E N D E D " A s b e f o r e cit e d , Bab e lo n , D u n ck e r ,
L e n or m a n t ; B u rr o ws , D i scover i es i n C r ete; C e sn ola , C ypr i ote
A n ti qu i ti es i n M etr opoli ta n M u seu m of A r t; C ypr u s; E va n s ,
S cr i pta M a n oa ; G arsta n g , Th e L a n d of th e H i tti tes; M e ss e r
schm idt , Th e H i tti tes; M ov e rs , D i e P h on i zi er ; O h n e fa lsch ’

R icht e r , K ypr os , th e B i ble , a n d H omer ; Pe rr o t a n d C hipi e z ,

H i stor y of A r t i n P h oen i ci a a n d C ypr u s; H i story of A r t i n
P h r ygi a , L ydi a , etc ; H i stor y of A r t i n S a r di n i a , J u dea , S yr i a a n d
.

A si a M i n or ; R e n a n , M i ssi on de P h é n i ci e ; S ayc e , Th e H i tti tes .

TH E D IN G N ATI O N S T h e c o ast l yi n g n ati on s of th e

TRA " -

E ast e r n M e dit e rr a n e a n w e r e hardl y o rigi n a l o r c r e ativ e n atio n s

 BA B YL O N I A N —
A SS YRIA N PA NT N G I I 23

in a l a rg e s en se T h e y w e r e at diff e r e n t tim e s th e co n q u er e d
.

d ep en d en ci e s of E gypt A ssy r ia Pe r sia G r e e c e a n d t h ei r

, , , ,

l an ds w e r e but b r idg e s o v e r w h ic h a rmi e s p asse d fr om e ast

t o w e st o r f r om w e st t o e ast L ocat e d o n th e M e dit e rra n e a n
.

b e tw e en th e gr e at civili zati on s o f a n tiquity th e y n atur ally

adapt e d t h ems e lv e s to ci r cumsta n c e s an d b e cam e t h e middl e ,

FI G 1 1 P
C Y RI O TE P A IN T E DV A SE

F P
. . .

( RO M E RR O T A N D CHI PIE z .
)

m e n , th e b ro k e r s t r ad e r s an d car r i e r s of th e a n ci e n t wor l d
, ,
.

T h e i r l a n ds w e r e n o t favo r abl e to ag r ic u ltu r e but th e i r se a ,

c o asts r en d e r e d c omm e r c e e asy a n d luc r ativ e T h ey mad e .

a k ingd o m of th e se a an d t h e i r m e a n s o f liv e lih o od w e r e gat h

,

e r e d f r o m it. T h e r e is n o r e c o rd t h at th e E gyp tia n s e v e r

t r av e r se d th e M e di t e r r a n e an th e A ssy r ian s w e r e n o t sa ilors
, ,

t h e G r e e ks h ad n o t y e t aris e n a n d so p r o bably Ph oen icia a n d ,

h e r n e ig h b o rs i n th e e ar l y days h ad matt e rs t h e ir own way

, ,
.
24 I
H S TO R Y I
O F PA N T N G I
C ol on i e s an d tradi ng statio n s w e r e e stablish e d at C yp r us ,

C arthag e S ardi n ia t h e G r e e k isla n ds a n d th e G r e e k mai n

, , ,

l an d an d n ot o n ly E ast e r n go o ds but E ast e r n id e as w e r e

,

th u s carri e d to th e W e st .

Po litically , so cially a n d r e ligi o usly th e s e small middl e

,

n ati o n s w e r e n o t imp o rta n t T h ey S imply adapt e d t h e ir

.

p o lit i cs o r fait h to th e n atio n that fo r th e tim e had th e m u n d e r

its h e e l W hat s emi o rigi n al r e ligi o n th ey p o ss e ss e d was an
.
-

am algamati on o f th e r e ligio n s o f o t h e r n ati o n s T h e i r art .

w a s o f simila r c o n stitut i o n a n d th e ir g o ds o f br o n z e t e rr a ,

c o tta a n d e n am e l w e r e i r r e v e r e n tly s ol d i n th e mark e t lik e

,

a n y o th e r pr o d u c e .

AR T M O TI VE S A N D M E TH O D S " B uildi n g carvi n g a n d , ,

pai n ti n g w e r e p r actis e d am on g th e c o astwis e n ati on s but ,

upo n n o s u ch e xt e n siv e scal e as in e it h e r E gypt or A ssy r ia .

T h e m e r e fact that t h e y w e r e p e opl e o f th e se a rath e r tha n o f

th e l a n d p r e clud e d e xt e n siv e o r c on c e n trat e d d e v e lopm en t .

Po lit i cally Ph oen icia was divid e d am on g fiv e citi e s a n d h e r ,

artistic str en gth w as distribut e d in a simila r ma n n e r S u c h .

a r t as w as p r oduc e d sh ow e d th e r e ligi o u s a n d d e corativ e

m o tiv e s a n d i n its spiritl e ss mat e rialistic mak e up th e com
,
-
,

m er ci al m o tiv e It w as at th e b e st a hybrid m o n gr e l art

.
, ,

borr ow e d f r om man y s o u r c e s an d distrib u t e d to man y poi n ts

of th e compass A t on e tim e it h ad a st r o n g A ssyria n cast
.
,

at an o t h e r an E gyptia n cast an d aft e r G r e e c e ar o s e it acc e pt e d

,

a r e tr o activ e i n flu e n c e f r o m th e r e Futu r e r e s e a r c h may dis

.

cl o se t h at i t w a s also susc eptibl e t o i n flu e n c e s f r om C r e ta n

a n d H i ttit e art C o n clusi o n s as to a n y o f this e arly M e d
.

i t e r r a n e a n art ca n n o t as y e t b e acc e pt e d W ith c e rtai n ty .

It is imp o ssibl e t o charact e ri ze th e Ph oen icia n typ e an d ,

e v e n th e C ypri o t e typ e th o u g h m o r e p r on o u n c e d vari e s so

, ,

w i th th e di ff e r e n t i n fl u en c e s that it has n o v e r y striki n g

i n divid u ality T e ch n i c ally b o th th e Ph oen icia n a n d C ypri o t e
.

w e r e fair Wo rkm e n i n br o n ze a n d sto n e a n d doubtl e ss ta u gh t

,
 BA B YL O N I A N —
A SS YRIA N PAI N T N G I 25

man y t e c hn ical m e thods t o th e e arly G r e e ks b e sid e s maki n g ,

kn ow n t o th e m thos e d e iti e s aft e r wa r d adopt e d u n d e r th e

n am e s o f A ph r odit e A d on is a n d H e racl e s a n d famil iariz i n g
, , ,

th e m wit h th e art f o rms o f E gypt an d A ssyria .

A s f or pai n ti n g th e r e w as un d o ubt e dl y figu r e d d e c o ratio n

,

up on walls o f st on e an d plast e r but th e r e is n o t e n o ugh l e ft ,

t o us f r o m al l t h e smal l n ati o n s lik e Ph oen icia J ud e a C yp r us , , ,

FI G 1 2 — C YP RI O TE V ASE D E C O RA TI ON .

F P
. .

( RO M E RR O T A ND CH I PI E z .
)

an d th e kin gdoms of A sia M i n o r p u t t og e t h e r to patc h up , ,

a disj o i n t e d hist o ry T h e first lan ds t o m e e t t h e sp o il e r

.
,

th e ir v e ry r u in s hav e p e rish e d A ll that th e r e is of pai n ti n g

.

c o m e s t o us i n br o k e n p o tt e ri e s a n d col o r trac e s on stat u ary

a n d sarc ophagi . T h e r e mai n s o f sculptu r e an d arc h it e ctu r e
a r e o f c o u r s e b e tt e r pr e s e r v e d N o n e of t h is i n t e rm e diat e art
.

h o lds much r an k by v ir tu r e o f its inh e r en t w o rth It is its .

i n flu en c e up on th e W e st th e id e as subj e cts a n d m e th ods , ,

it im part e d t o th e G r e e ks that giv e s it valu e i n art history .

C RE TA N ART " R e c e n t disc ov e ri e s at C n o sso s a n d Ph a e st u s

giv e muc h imp or ta n c e to C r e t e as a c en t r e o f a n ci e n t c iviliz a
26 H S TO RI Y O F PA NT N G I I
ti on a n d art D uri ng th e s e c o n d mill e n n ium it was at its
.

h eight a n d pr obably i n fl u en c e d by its art all th e surr o un di n g

n atio n s e sp e cially t h e M yc e n a
,
e a n dw e ll e rs i n G r e e c e My .

c e n ae a n a r t its e lf can b e trac e d alm o st dir e ctly t o th e M iddl e

a n d L at e M i n oa n art o f C r e t e Pai n ti n g is c h i e fly r ep r e .

s e n t e d by th e fr e sc o s on palac e walls a n d by c e ramic d e c o rati on

up o n vas e s tabl e ts an d th e lik e Th e styl e of work a n d typ e
, ,
.

o f figur e a r e r e mi n isc e n t o f b o t h E gyp t a n d G r e e c e but with ,

a C r e ta n origi n ality ab o u t th e m Fu tu r e e xcavati on s i n .

C r e t e a n d C yr e n e may cha n g e f o rm e r th eo ri e s ab o u t M e d
i t e r r a n ea n civili z ati o n a n d thr o w n ew lig h t o n t h e b e gi nn i n gs
of G r e e k art It is n o t imp o ssibl e that all th e so call e d M y
.
-

c e n ae a n art f o u n d at M yc e n ae T iry n s a n d e ls ewh e r e is n o t

, , , ,

G r e e k at all but c o mm e rcial a r t s en t o u t fr o m C r e t e .

H I TTI TE AR T " T h e c h i e f r e mai n s o f Hittit e art n ow ,

k n ow n to us a r e r ock c u t sc u lpt u r e s T h e r e is n o trac e

,
-
.

o f pai n ti n g th o u gh d o u btl e ss it o n c e e xist e d

,
F utur e e xcava .

ti o n s i n t h e Hittit e c o un try o f A sia M i n o r may agai n thr o w , ,

lig ht on th e o rigi n s o f e arly G r ee k art A t pr e se n t n o thi n g .

disti n ctiv e ly G r e e k can b e trac e d f u rth e r back t h a n ab o u t 800

BC T h e r e is n o li n k
. p e rh aps n o c on n e cti on w h at e v e r
b e tw een th e so call e d M yc e n ae a n a r t supp o se d to b e o f e arly
-
,

G r e e k o r igi n a n d th e lat e r G r e e k work t h at b e ga n to tak e

,

f o rm ab o ut 800 B C . .

XTA NT RE M A I N S " I pa i ti g h i fl y t h vas s i t h M tr

E n n n c e e e n e e o

p l i t a M us um N w Y rk t h L uv r Bri ti s h d B rli M us ums

o n e ,
e o ,
e o e, an e n e .

Th s g i v
e e a p r d i mp l t i d a f pa i ti g i A s i a M i r
e oo an n co e e e o n n n no ,

Ph i ia
oen c d h ,
l i s Th t rr a tt as fi g uri s i b r
an er co on e . e e -
co ,
ne n o nze ,

an d s ul p t u r sc b s t u d i d t m r a d va t a g
e ca n Th
e b st ll e o o e n e . e e co ec

ti on f C y p ri t a t i q ui ti s i i
o th
o e M tr p l i t a M us um N w
n e s n e e o o n e ,
e

Y r k A ll ti
o . f J ud a i
co t i i
ec th L uv r Th r i a l
on o c ar s n e o e . e e s va

n a b l ll ti f A s i a M i r a rt i t h C s t a ti p l M us um d
e co ec on o -
no n e on n no e e ,
an

o f th a ll d M y
e so - c a a rt i t h A th s M us um
e ce n a
e n n e en e .
 C H A PTE R I I I

G R E E K PA I N TI N G

BO O K S RE C O M ME N D E D " B aum e ist e r , D en kmaler des k las

’

M a ler ei B ru n n , Gesch i ch te
“
si sch en A lter tu ms a r ti cle

der gr i echi sch en K u n stler ; Gr i ech i sch e K u n stgeschi ch te; C a ta

logu e of Gr eek Va ses i n B ri ti sh M u seu m; C o ll i g n on , M a n u el
d A r ch a eologi e Gr ecqu e; M yth ologi e figu r é e de la Gr éce; C r o s
’

e t H e n ry , L E n ca u s ti qu e e t les a u tr es pr ocedes de P ei n tu r e ch ez
’ ’ ’

les A n ci en s; E n dt , B ei tr age zu r i on i sch en Va s en m aler ei ; G ard

’

n e r , P r i n ci ples of Gr eek A r t; G irard , L a P ei n tu r e A n ti qu e;

Ha r r is on a n d M a c C o ll, Gr eek Vase P a i n ti n gs; M u rray , H a n d
book of Gr eek A r ch wology; O v e rb e ck , A n ti k en S ch r iftqu ellen
zu r gesch i ch te der bi lden en K i tn s te bi e den Gr i ech en ; Pe rr o t
a n d C hi pi e z , H i s tor y of A r t i n P r i mi ti ve Gr eece ; R e i n ach ,
R eper toi r e des va ses pei n ts gr ecs et étr u squ es; R ay e t a n d
C o llig n on , H i stoi r e de la C er ami qu e Gr ecqu e; W alt e rs , A r t of
’

th e Gr e ek s ; H i stor y of A n ci en t P otter y; W o e r m a n , D i e L a n d
sch aft i n d er K i tn st der an ti k en Volk er ; s ee a lso book s on E tru scan
’ ‘

a n d R oman pai n ti n g .

G RE E CE A ND TH E G RE E K S " o r igi n of th e G r ee k r ac e
Th e
is n o t p o sitiv el y kn own It is r e ason ably s u ppos e d t h at th e
.

e ar l y s e tt l e rs in G r e e c e cam e fr o m t h e r e gi o n o f A sia M i n o r ,

e it h e r ac r o ss t h e H e l l e sp o n t o r t h e se a a n d populat e d t h e
,

G r e e k isla n ds a n d t h e mai n l a n d W h en t h is w as d on e h as
.

b e en matt e r of muc h c on j e ctur e T h e e ar l y h ist o ry is lost

.
,

but a r t r e mai n s go to S h o w that in th e p e riod b e fo r e Hom e r th e

G r e e k s w e r e a n e stab li sh e d r ac e with habits a n d c u stoms
distin ctly in dividual E gyptia n A siatic a n d islan d i n flu en c e s
.
, ,

a r e appa r e n t i n t h e i r a r t at this e arly tim e but t h e r e ar e , ,

28 I
H S TO R Y I
O F PA N T N G I
ne v e rth e l e ss th e marks o f a rac e p e culiarly apart f ro m all th e
,

rac e s o f t h e o ld e r w o rld .

Th e d e v e l opm e n t o f t h e G r e e k p eo pl e w as pr o bably h e lp e d
by fav o rabl e climat e an d so il by c omm e rc e an d c on q u e st , ,

by r ep u bl i ca n i n st i t u t ion s a n d p o litical faith by fr e e d o m o f ,

mi n d a n d o f b o dy ; b u t all th e s e t og e th e r a r e n o t s uffi ci e n t
t o acc o u n t fo r t h e k e e n n e ss o f i n t e ll e ct t h e p u rity o f tast e , ,

a n d t h e skill i n acc o mplishm e n t w h i c h show e d i n e v e ry bra n ch

of G r e e k lif e T h e ca u s e li e s d e ep e r i n t h e f u n dam e n ta l
.

mak e Up o f th e G r e e k mi n d a n d its e t e r n al aspirati o n t oward

-
,

m e n tal m o ral an d physical id e als Pe rf e ct m in d p e rf e ct

, ,
.
,

b o dy p e rf e ct c on duct i n this world w e r e s o u ght fo r id e als

.

-
.
,

T h e G r e e ks aspir e d t o c o mpl e t e n e ss T h e c o u rs e o f e d u cat i o n

.

a n d rac e d e v e l o pm e n t t r ai n e d th e m physically as athl e t e s

a n d warri o rs m e n tally as phil o soph e rs law mak e rs p o e ts

, ,
-
, ,

artists m o rally as h e r o e s W h o s e liv e s a n d acti o n s e mulat e d

,

t h o s e o f th e g o ds a n d w e r e alm o st p e rf e ct fo r t hi s w o rld
,
.

ART M O TI VE S " N e ith e r th e m o n archy n o r t h e pri e sth oo d

c omma n d e d th e s e rvic e s o f th e a r tist i n G r e e c e as in A ssyria ,

a n d E gypt T h e r e w a s n o m o n arch i n a n o ri e n tal s e n s e a n d

.
,

t h e c h o s e n l e ad e rs o f t h e G r e e ks n e v e r u n t i l t h e lat e days , ,

arr ogat e d a r t t o th e ms e lv e s It w as so m e thi n g for all t h e

.

p e opl e .

I n r e lig i o n th e r e w as a pa n th e o n o f g o ds e stablish e d a n d
w o rsh ipp e d fr o m t h e e arli e st ag e s but th e s e g o ds w e r e m o r e
,

lik e epit om e s o f G r e e k id e als tha n spirit u al b e i n gs T h e y .

w e r e t h e p e rso n ifi e d virt u e s o f th e G r e e ks e x emplars o f ,

p e rf e ct livi n g ; a n d i n w o rshippi n g th e m th e G r e e k w a s r e ally

w o rsh ippi n g o rd e r c o n d u ct r ep o s e dig n ity p e rf e ct lif e
, , , ,
.

T h e g o ds a n d h e ro e s as typ e s o f moral a n d phys i cal q u aliti e s

, ,

w e r e c o n ti n ually r epr e s e n t e d i n a n all e g o r i cal o r l eg e n dary

ma n n e r A th e n e r epr e s e n t e d n obl e warfar e Z e u s was
.
,

maj e stic d ig n ity a n d p o w e r A phr o dit e l ov e Ph o ebus so n g

, , ,

N ik e tri u mph a n d all t h e l e ss e r g o ds n ymphs a n d fa u n s

, , ,
3 0 I
H STO R Y O F PA NT N G I I
A s e c o n d a n d e v r pr e s e n t m o tiv e in G r e e k pai n ti n g was
e —

d e c o rat io n T h is app e ars in th e t o mb p o tt e ry o f t h e e arli e st

.

ag e s a n d w as carri e d o n d own to t h e lat e st tim e s Vas e

, .

pai n ti n g wall pai n ti n g tabl e t an d sc ulptur e pai n ti n g w e r e

, ,

all d o n e wit h a d e c o rativ e motiv e i n vi e w E v e n t h e e as e l .

o r pa n e l pictur e s had s o m e d e c o rativ e e ff e ct ab o ut th e m ,

th o u gh p e rhaps th e y w e r e primarily i n t en d e d to c on v e y id e as
o th e r tha n thos e o f f o rm a n d c o lor .

S UB J E C TS A N D M E TH O D S " T h e g o ds a n d h e r oe s t h e i r ,

l iv e s a n d adv e n tur e s f o rm e d th e e arly s u bj e cts of G r e e k

,

pai n ti n g C e rtai n th e m e s tak e n fr om t h e Iliad a n d

.
“

O dyss e y w e r e as fr e qu e n tly sh o w n as aft e rward th e

“ ”
th e , ,

A n n u n ciati on s a n d C r u c ifixi on s i n Italia n pai n ti n g Th e .

tra di ti on al subj e cts th e C e n taurs a n d L apiths t h e A ma zon

, ,

war T h e s e us an d A riad n e Pe r se us an d A n dr o m e da w e r e
, , ,

fr e q u en tly d epict e d Hum a n ity an d actual G r e e k lif e cam e

.

i n fo r its shar e S i n gl e fi g ur e s still lif e gen r e ca r icatur e

.
,
-
, , ,

a ll w e r e sh o w n a n d as pai n ti n g n e ar e d t h e A l e xa n dria n ag e
,

a s emi r e alistic p o rtrait u r e cam e i n t o v o g u e

-
.

T h e mat e rials e mpl o y e d by th e G r e e ks a n d th e ir m e t h ods

of work a r e som e what difficul t t o asc e rtai n b e caus e th e r e a r e ,

f ew G r e e k pict u r e s e xc e pt th o s e o n t h e vas e s l e ft t o us
, ,
.

F r o m t h e c o n f u si n g acc o u n ts o f th e a n ci e n t writ e rs th e vas e s , ,

s o m e G r e e k g r av e tabl e ts an d th e R o ma n pai n ti n gs im itativ e

,

o f t h e G r e e k w e may gai n a g e n e ra l id e a
,
T h e e arly G r e e k .

w o r k w as l arg e ly d e vot e d t o p o tt e ry a n d t omb d e corati o n in ,

whic h much i n man n e r an d m e thod was p e rhaps b o rr ow e d

from C r e t e Ph oen icia a n d E gypt L at e r o n pai n ti n g app e a r e d
, ,
.
,

i n flat o utli n e o n sto n e o r t e rr a c o tta slabs s o m e tim e s r ep r e

—
,

s e n ti n g pr o c e ssi on al sc en e s as i n E gypt a n d d o u btl e ss d on e

, ,

i n a hybrid fr e sc o sim ila r t o t h e C r e ta n m e t h od W all pain t .

i n gs w e r e d o n e i n fr e sc o a n d dist e mp e r p ro bably u p on th e ,

walls th e ms e lv e s a n d als o up on pa n e ls aft e r wa r d le t i n to

,

t h e wall . E n caustic pai n ti n g (c o l o r mix e d W ith w a x up on th e

 G R E E K PA NT N G I I 3I

pan e l an d fus e d wit h a h o t spat u la) cam e i n wit h th e S icyo n ian

sc h o o l I t is possibl e t h at th e oil m e dium was k n ow n b u t
.
,

n o t p r o bab l e that it was e v e r us e d e xt e n siv e ly .

T h e r e is n o d o u b t ab o ut t h e G r e e ks b e i n g e xp e rt drafts
m e n t h o ug h t h is d o e s n o t app e a r u n til lat e i n hist o r y
,
T hey .

kn e w th e o utli n e s w e ll a n d dr e w th e m with fo r c e a n d g r ac e
,
.

T h at th e y m o d e ll e d i n p r o n o u n c e d r e li e f is m o r e qu e sti o n abl e .

FI G . I 4 .
— V ASE P AI N TI N G . ST YL E OF P LY G
O NO T U S . L UV
O RE .

L ig h t -
sh ad e was c e r tai n l y e mploye d in t h e figur e but
a n d- ,

n o t i n a n y m o d e r n way Pe r sp e ctiv e i n b o t h fig u r e s a n d l a n d
.

scap e was limit e d i n s c o p e T h e la n dscap e was at first sym .

b oli c an d r ar e ly got b e y o n d a d e c o r ativ e backgr o u n d fo r t h e

figu r e G r e e k compositi o n w e k n ow l ittl e ab o ut but i n f e r
.
,

f r o m th e vas e s that it was larg e ly a s e r i e s of ba l a n c e s a sym ,

m e t r ical adj ustm e n t o f o bj e cts t o fil l a giv e n spac e I n .

atm o sp h e r e sun lig h t shado w a n d t h o s e p e cul iarly s e n suous

, , ,

c h arms that b e l o n g to pai n ti n g t h e r e is no r e as on t o b e li e v e ,

t h at th e G r e e ks app r o ac h e d th e m o d e r n s T h e i r i n t e r e st .

was chi e fly c e n t r e d in th e h uma n figu r e L a n dscap e wit h .

,

its ma n y b e auti e s was r e se rv e d fo r m o d e r n h a n ds t o disclose

, .
3 2 I
H S TO R Y O F PA NT N G I I
C ol o r w as u se d inab u n da n c e wit h o u t doubt but it was
, ,

pr o bably l imit e d to th e l e ad i n g h u e s wit h littl e of t h at r e fin e

,

m e n t o r d e l i cacy k n o wn in pai n ti n g to day -

.

AR T H I S TO RY " Fo r t h e h i st o ry o f G r e e k pai n ti ng w e hav e

t o r e ly U p o n t h e w o rds o f Pl i n y Plutarch Q ui n tilia n L ucia n

, , , ,

C ic e r o Pa u sa n i as Vitruv i u s
, ,
T h e ir accou n ts app e ar t o b e
.

partly s u bsta n tiat e d by th e vas e pai n tin gs a n d s u ch fe w ,

draw i n gs o n st on e with R oma n fr e sc o s as r emai n t o us

, , .

T h e r e i s n o dat e o f b e gi n n i n g that c a n b e r e l i e d u po n n o r is ,

th e r e a n y c o n se c u tiv e o r c on n e ct e d n arrativ e I n its plac e .

th e r e is much impr obabl e a n e cd o t e a n d u n tr u stwo rthy l eg e n d .

T h e o rig i n o f pai n ti n g with t h e G r e e ks 15 u n k n o w n but it ,

is fair to i n f e r that th e kn owl e dg e o f it was br o ught to th e

G r e e k mai nl a n d by sh ips fr o m th e n eighb o ri n g isla n ds such ,

as C r e t e o r th e dista n t c o asts s u c h as E gypt o r Ph oen icia

, , .

A t first it w a s e mpl oy e d o n p o tt e ry t e rra c o tta pa n e ls a n d

,
-
,

ru d e s c ulpt u r e It d e v e l op e d fast e r t h an sc u lpt u r e p e r h aps ;

.

but w e r e th e r e a n yth in g o f imp o rta n c e l eft to j udg e fr om ,

w e sh o ul d pr o bably fin d that it d e v e l op e d i n much t h e sam e

way as sc u lpt u r e D ow n to 5 00 B C t h e r e w a s littl e m o r e

. .

tha n o utli n e fill e d i n with flat m on oc h r omatic pai n t a n d wit h

a d e c o rativ e e ff e ct S imil ar p e rhaps to that o f th e vas e pai n t
, ,

i n gs A ft e r t h at dat e c om e th e m o r e imp o rta n t n am e s o f

.

artists m e n ti o n e d by th e a n ci en t writ e rs It is d iffi cult t o .

assig n th e s e artists t o c e rtai n p e ri o ds or sch oo ls o wi n g to th e ,

i n s u ffici e n t k n owl e dg e w e hav e ab o u t th e m T h e f o ll owi n g .

cl assificati on s a n d assig n m e n ts a r e t h e r e f o r e giv e n s ubj e ct

t o c o rr e cti o n .

O L D E R ATTI C S C H O O L " T h e first pai n t e r o f ra n k was

P o l yg n o t u s o f T hasos (fl 4 7 0 4 5 5 B C ) s o m e tim e s call e d

.
—
,

t h e f o u n d e r o f G r e e k pai n ti n g b e caus e p e rhaps h e w a s o n e o f

,

t h e first imp o rta n t pa i n t e rs i n G r e e c e pr o p e r H e s e e ms t o .

hav e b e e n a g o o d o u tl in e draftsma n pr o d u ci ng fig ur e s i n
.
,

pr ofil e with littl e att e mpt at r e l i e f o r l ig ht a n d shad e His

,
- -
.
 G RE E K PA N T N G I I 33

colo r s w e r e l o ca l t on e s but pr o bab l y m o r e l ik e n atu r e an d

,

m o r e va r i e d than an ythi n g in E gyptia n pai n tin g L a n dscap e s .

,

buil din gs a n d t h e lik e w e r e giv e n in a symb o lic ma n n e r

, ,

t h ough th e r e was e vid e n tly som e att e mpt at givi n g tw o or

m o r e pla n e s to th e pict u r e Pe r sp e ctiv e in th e s en s e o f
.

d imi n uti on o f obj e cts was pr o bably n o t att e mp t e d at t h is

tim e Po rt r aitu r e was a g e n e rali z ation a n d i n figu r e com
.
,

p o siti on s t h e n am e s O f th e p r i n cipal c h a r act e r s w e r e w r itt e n

n e ar th e m f o r p u rpos e s o f id e n tifi cati o n Th e m o st i mp o r ta n t
.

w o rks of Po lyg n o t u s w e r e th e wall pain tin gs at A t h e n s a n d

i n th e A ss e mbly R oo m o f th e C n idia n s at D e lp h i Th e s ub .

f h latt r r e l at e d t o t h e T r o ja n W a r a n d t h e adv e n tu r e s
j e c t s o t e e

o f U l yss e s .

O pp o s e d to this flat u n r e li e v e d styl e was th e w o rk o f a

,

f o ll ow e r A g ath ar ch u s of A th e n s (fl e n d o f fifth c e n tury

,
.

H e is th o u ght to h av e b e e n a sc e n e pai n t e r a n d by t h e n e ce s
-
,

siti e s o f his craft was le d t owa r d n atur e M o d e r n stag e e ff e ct .

w o uld r e quir e a study o f p e r sp e ctiv e va r iation o f lig h t a n d , ,

a k n o wl e dg e o f th e laws o f O ptics ; but t h e r e is n o r e aso n t o

b e li e v e t h at th e G r e e k stag e r e q u i r e d this o r t h at A ga th ar ch u s
p r oduc e d it H e p robably imp ro v e d upo n his pr e d e c e ss o r
.

by r o u n din g obj e cts so m e what A p o llo d or u s (fl e n d o f fift h

. .

c en tury B C ) p e rhaps appli e d th e p r in cipl e s o f A ga th ar ch u s

.

t o figur e s . A cc o r di n g to Plutarc h h e was th e fi r st t o disc o v e r

,

variati on i n th e sh ad e o f c o l o r s a n d acc o rdi n g to Pli n y

, , ,

t h e first mast e r to pai n t o bj e cts as t h e y app e ar e d i n n atur e .

H e had th e titl e o f s k i a gr a ph u s (s h adow pai n t e r ) a n d p o ssibly -

,

gav e a s e mi n atural backgr o u n d with som e p e rsp e ctiv e

-
.

T h is was a n impr o v e m en t b u t n o t a p e r f e cti o n

,
I t is n o t .

l i k e ly that th e backg r o u n ds w e r e o th e r than co n v en ti on al

s e tti n gs for th e fig u r e E v e n t h e s e w e r e n o t at o n c e acc e pt e d
.

by th e pai n t e rs o f t h e p e riod but w e r e tu rn e d to pro fit in

,

t h e h a n ds o f t h e f o ll o w e rs .

A ft e r t h e Pe l op o n n e sia n W a r s th e a r t of pai n ti n g s ee ms to
34 I
H S TO R Y O F PA NT N G I I
h av e fl o u r ish e d e l s ewh e r e tha n in A t h e n s owi ng to th e A th e ,

n ia n l o ss o f s u pr e macy O t h e r sc h ools spra n g up i n va r ious

.

districts a n d o n e t o cal l fo r c on sid e rabl e m e n tio n by th e

,

a n ci e n t writ e rs was siatic o r th e A

I O N IA N S C H O O L which i n r e ality had e xist e d f ro m th e
,

sixth c e n tury Th e pai n t e rs o f this sch oo l adva n c e d u p on

.

t h e w o rk O f A p o ll o d o r u s as r e gards r e alist i c e ff e ct Z e uxi s .

FI G . I S —
. G RE E K A ND A MA Z ON . P AI NTI N GF RO M C O R N E TO .

(fl 4 2 0 390
-
whos e fam e was at its h e ight d u ri n g t h e

Pe l op o n n e sia n W ars s ee ms t o h av e r e ga r d e d art as a matt e r

,

o f il l u si o n if o n e may judg e by th e st o r i e s t o ld o f his w o rk

,
.

T h e tal e o f his pai n ti n g a bu n ch of g r ap e s so lik e r e ality that

t h e birds cam e t o p e e k at it prov e s e ith e r t h at t h e pai n t e r s
’

m o tiv e w a s d e c epti on or that th e n a rr at o r o f th e tal e pick e d

,

o u t t h e d e c e ptiv e part o f h is pict ur e fo r admirati o n He .

pai n t e d ma n y s u bj e cts lik e H e l e n Pe n e l op e a n d ma n y gen re

, , ,

pi e c e s o n pa n e l Q ui n tilia n says h e o ri g i n at e d lig h t an d

.
-
 G RE E K PA N T N G I I 35

sh ad e an achi e v e m en t c r e di t e d by Plutarch to A p oll od or us

,
.

It is pr obabl e t h at h e adva n c e d ligh t an d—shad e -

.

I n ill u si o n h e s e e ms t o h av e b e e n o utd on e by a r iva l P ar ,

r h as i u s (fl 3 99 B C ) o f E ph e s u s
. .Z e uxis d e c e iv e d th e birds
.

with pain t e d grap e s b u t Pa r r h a siu s d e c e iv e d Z e uxis wit h a

,

pain t e d c u rtai n T h e r e must h av e b e e n k n o wl e dg e o f c ol o r

.
,

m o d e lli n g a n d r e li e f t o hav e pr o d u c e d s u ch a n il l u si on b u t
, ,

th e a i m w a s p e tty a n d u n w o rthy of t h e skill T h e r e was .

e vid e n tly a n adva n c e t e ch n ically but s o m e d e cli n e i n t h e tr u e,

spirit o f art Pa rr h a siu s fi n ally s uff e r e d d e f e at at th e h a n ds

.

o f Ti m an th e s o f C y t h n u s by a C o n t e st b e tw e e n A jax a n d
,

Ulysse s fo r th e A rms o f A chill e s Tim an th e s s fam o us w o rk .

’

w a s t h e S acrific e o f Iphig e n ia o f w h ich th e r e is a s u pp o s e d ,

Po mp e ia n c opy
S I C Y O N IA N S C H O O L " T his sc h o o l s e e ms t o hav e sp r u n g
up aft e r th e Pe l op on n e sian W ars a n d was p e rhaps f o u n d e d ,

by E up om pu s a c on t emp o r ary o f Pa rr h a siu s His p u pil

,
.

P am ph ilu s br o u g h t t h e scho o l t o mat u rity H e appar e n tly .

r e act e d fr om th e d e c eption m o tiv e of Z e uxis an d Par r h a si u s

“

a n d taug h t acad e mic m e th o ds o f drawi n g c omp o sin g a n d , ,

pain ti n g H e was also cr e dit e d with b r i n gi n g i n t o u se th e

.

e n caustic m e th o d o f pai n ti n g t h ough it was p r o bably k n own

,

b e fo r e h is t im e His p up i l Pau si a s p o ss e ss e d so m e f r e e d om
.
, ,

o f cr e ati o n i n gen r e a n d stil l lif e subj e cts Pl i n y says h e h ad

-
.

gr e at t e ch n ical skill as sh own in th e for e sh o rt e n i n g of a black

,

o x by variati o n s of t h e black t o n e s a n d h e o b tai n e d som e ,

fam e by a figu r e o f M e t he (I n t o xicati o n) dr i n ki n g f r om a glass ,

t h e fac e b e i n g s e e n thr o ugh t h e glass A gai n th e m o tiv e s .

s e e m triflin g but agai n adva n ci n g t e ch n ica l p o w e r is show n

,
.

TH E BA N A TTI C S C H O O L " T his was t h e f o urt h sch oo l o f

-

G r e e k pai n ti n g N i c om a ch u s (fl ab o ut 3 6 0 B C ) a facil e
. .
,

pai n t e r was at its h e ad His pupil A ri stid e s pai n t e d path e tic

,
.
, ,

sc e n e s a n d was p e rh aps as r e markabl e fo r t e ac h i n g a r t t o

,

t h e c e l e b r at e d E u ph r an or (fl 3 6 0 B C ) as fo r h is o w n p r oduc
. .
36 H S TO RI Y O F PA NT N G I I
ti on s E u ph r an o r had gr e at ve rsatility in th e arts a n d in
.
,

pain tin g was r e n ow n e d fo r his pict u r e s o f t h e O lympia n g o ds

at A th e n s His s u cc e sso r N i ci as (fl 3 4 0 3 00 B C ) w a s a
.
,
.
—
,

c o n t e mp o rary o f Praxit e l e s th e sc u lpt o r a n d was p o ssibly , ,

i n flu e n c e d by him i n th e pai n ti n g o f f e mal e fig u r e s H e w as .

a t e c h n icia n of ability i n c omp o siti o n light a n d shad e a n d ,

- -
,

r e li e f a n d was prais e d fo r t h e r o u n d n e ss o f his figur e s H e

, .

also did s o m e ti n ti n g of sc ul ptur e a n d is said t o hav e ti n t e d ,

s om e o f th e w o rks o f Praxit e l e s .

LA TE PA I N TE R S " C on t emp o rary with a n d f o ll owi n g th e s e

l ast n am e d artists w e r e s om e c e l eb r at e d pai n t e rs w h o r e ally
-

b e l on g t o th e b egi n
n i n g of th e H e ll e n istic
Pe ri o d (3 2 3 At
th eir h e ad w as A p e ll e s ,

t h e pa i n t e r o f Ph il ip
a n d A l e xa n d e r an d th e ,

climax o f G r e e k pai n t
in g H e pai n t e d ma n y .

g o ds h e r o e s an d all ego , ,

r i e s wit h m u ch gra ce ,

f u l n e ss as Pli n y p u ts ,

it T h e Italia n Bo tti .

c e lli s e v e n t e e n h u n dr e d ,

y e ars aft e r h im tri e d t o ,

FI G 6 —
1 GL G
H E R O U1 E S P
S TR A N
r e p r o d u c e h i s c e l eb r a t e d
IN TH E S E R E N TS ,
YL Z P MP
. . .

ST E OF E U XI S . O E II .

C al u m n y fr o m L u c 1 a n 5 ,

d e scripti o n o f it His ch i e f works w e r e his A phr o dit e A n

.

a dy o m e n e carri e d t o R om e by A u g u stus a n d th e p o rtrait

, ,

o f A l e xa n d e r with t h e T h u n d e r b o lt H e was u n d o u bt e dly -

.

a s u p e ri o r m a n t e ch n i cally Pr o tog e n e s r i vall e d him i f w e

.
,

a r e t o b e l i e v e Pe tr o n i u s by th e f o am o n a d og s m o u th ’

an d th e w o n d e r i n t h e e y e o f a startl e d ph e asan t .

A eti on t h e pai n t e r of A l e xa n d e r s M a rr iag e t o R oxa n a was

’
, ,
3 8 I
H S TO R Y O F PA N T N G I I
pa i ti
n as a d i s ti t a rt was i flu d u fav r a bly b y fr s pa i t
ng nc n e n ce n o e co n

i g
n .
(5 ) W h i t G r u d W r e (5 t h e- tury ) T h g r u d f t h
o n a cen " e o n o e

wa r i v r d w i th a l a y r f w h i t d fi g ur s
e s co e e d r aw upe it o e an e a re n on

as i fr s w r k I t i t h fr s t f ll vas pa i ti g R d b r w
n e co o . s e ee o a e n n . e , o n,

y ll w b l u
e o ,
us d t fill i t h utli s M a d h i fl y a t A t h s
e a re e o n e o ne . e c e en .

A ft r A l xa d r vas pa i ti g s ms t h av s h a r d t h f a t
e e n e ,
e n f wa ll
n ee o e e e e o

an d pa l pa i t i g ne T h r was a s tr i v i g f
n n . ff t w i th r a t
e e ss n or e ec , o n ene

an d x tr ava g a
e d fi a ll y t h a rt pass d
n ce , a n t ti r l yn e e ou en e .

Th r was
e e s t a b li s h m t f u d d i S u t h r I t a l y w h i h
an e en o n e n o e n c

i mit at d t h G r k
e d p r d u d t h A pu li a wa r
e ee an b t t h R ma s
o ce e n e, u e o n

g av l i ttl
e ur a g m t t vas pai ti g d a b ut 6 5
e e n co e en it di
o e n n ,
an o B C . . s

app a r d A l m s t ll t h mus ums i t h w rl d h av ll ti s f

e e . o a e e o e o e co ec on o

G r k vas s
ee Th L e d . B rli Pa ri s A t h
e ons N w Y rk d B s t
on , e n, ,
en , e o an o on

co ll ti
ec s p rh aps as mp l t as y
on are e co e e an .

E XTA N T RE M A I N S Th r f w wa ll pa l p i tur s f
" e e are e or ne c e o

G r k ti m s i
ee xis t e F ur s l a b s f s t
n e i t h N ap l s M us um
e n ce . o o on e n e e e ,

w i th d utli d r awi g s f T h s us S i l us d s m fi g ur s w i t h
re o ne n o e e ,
en ,
an o e e

masks ,
p r b a b l y G r k w r k fr m w h i h t h
a re o . l r h s al d
ee o o c e co o as c e .

A um b r f R ma
n e op i s f G r k fr s s d m sa i s
o n co e i th o ee e co an o c are n e

V a ti a C ap i t li
c n, d N ap l s M us ums
o ne, A ll t h s
an pi s h w e e . e e e ce S o

an i m i t a ti f l a t H ll i s ti a rt
on o
— t th
e b s t p ri d f G r k
e en c no e e e o o ee

d v l pm t
e e o en .

E TR US C A N A N D R O M A N PA I N T N G I
BO O K S R E C O MME N D E D " S e e Bi bli o graphy o f G r e e k Pai n t
i n g a n d als o Boi ssi e r , R ome a n d P ompei i ; D e n n is , C i ti es a n d
C emeter i es of E tr u r i a ; G raul , D i e P or tr atgemci lde a u s d en Gr a b
’ '

s tatten des F a i yu m; H e lbig , Un ter su ch u n gen u ber di e ca mpa n

i sch e W a ndma le r ei ; M artha , L A r ch é ologi e é tr u squ e et r oma i n e;

’

M au , P ompei i " i ts L ife a n d A r t; W aldst e i n a n d S h oobridg e ,

H e r cu la n eu m , P ast, P r esen t, a n d Fu tu r e; W a l t e rs , A r t of th e
Roma n s; W i ck h off , Roma n A r t .

E TRU S C A N PA N T N G I I " Pai n ti n g in E t r uria h a s not a

gr e at d e al o f i n t e r e st fo r us j u st h e r e It was larg e ly d e c o r ativ e .

a n d s e p u lchral i n m o tiv e a n d w as e mpl o y e d i n t h e d e c o ra ,

ti on o f t ombs a n d u p on vas e s a n d o th e r o bj e cts plac e d i n

,

t h e t o mbs It had a nai iy e w ay o f exp re ssi ng_i_tse lf whic h

.
,

at first was n e ith e r G r e e k n o r O ri e n tal a n d y e t a r e mi n d e r

s
\
,

\ i b o th ch n ically it w a s n o t w e ll d o n e f r
p T e .

,
B e o e 5 00 B C . .
 G RE E K PA NT N G I I 39

it was alm ost ba r ba r ic i n th e drawi n g A ft e r t h at dat e th e .

figu r e s w e r e b e tt e r tho u gh still faul ty T h o se o n t h e vase s

, .

usually S h ow o utlin e d r awi n g fi l e d i n with d u ll brown s an d l

y e llo ws Fi n ally th e r e was a min glin g o f E trusca n wit h

.

G r e e k e l e m en ts an d a n imitati o n o f G r e e k m e t h ods
,
It .

FI G . I 7 .
— A E NE A S WUDD F O N E . RE S C O . P P
O M E II .

was at b e st a h ybrid art but of som e importa n c e f r om an

,

arc h aeol ogica l p o i n t of vi e w .

R O M A N PA I N TIN G " W e do n o t kn ow to w h at e xt e n t

R oma n pain tin g was b e h ol d e n to that of G r e e c e It is said .

to h av e Copi e d th e d e g e n e r at e H e ll e n istic pai n tin gs but w e ,

h av e few if an y G r e e k tabl e ts l e ft fo r c ompariso n T h e sub .

jec t s w e r e oft e n tak e n f r o m G r e e k st o ry tho u gh th e r e w e r e ,

a l so Ro man historica l sc en e s gen r e pi e c e s an d ma n y portraits

, , .
40 I
H S TO R Y I I
O F PA NT N G

T h ey migh t hav e b ee n c o n c e iv e d an d pai n t e d in a R oman

w ay .T h e r e w a s u n d o u bt e dly o rigi n ality i n t h e R o ma n work
m o r e p e rhaps tha n has u sually b ee n s u pp o s e d
, ,
.

I n th e b egi nn i n g of t h e E mpir e tab l e t o r pa n e l pai n ti n g

was rath e r aba n d on e d i n fav o r o f
mural d e corati on T hat is to say
.
,

fig u r e s o r gr o u ps w e r e pai n t e d in
fr e sco o n th e wal l a n d th en s ur
r o u n d e d by g eo m e trical fl o ral o r
, ,

archit e ctura l d e sig n s t o giv e t h e

e ff e ct o f a pa n e l l e t i n t o t h e wall .

Vitruvius says i n eff e ct t h at i n

t h e e arly days n at u r e w a s foll o w e d
in th e s e wall pai n ti n gs b u t lat e r ,

o n th e y b e cam e o r n at e a n d ov e r

d on e sh owi n g man y u n s upp o rt e d

,

archit e ct u ral fa cad e s a n d im p o s

s ibl e d e c o rativ e frami n gs T his .

c a n b e trac e d i n t h e R o ma n a n d

Pomp e ia n f r e sc o s . T h e walls at
Pomp e ii S h o w s e v e ral diff e r e n t
styl e s of d e c o rati on M au Classi
.

fie s th e m as f o ll ows
(1 ) T h e I n cr u stati o n S tyl e i n
wh ich th e wall is divid e d i n to
pan e ls a n d or n am e n t e d w i th pat
t e r n s o r ba n ds of c o l o r T his styl e
.

FI G
c o m e s dow n to th e y e a r 8 0 B C
'

. .

(2 ) T h e A rchit e ct u ral S tyl e

w h ic h c om e s d own to ab o ut th e C hristia n e r a It w a s pr obably
.

d e v e l op e d fr o m th e pr e c e di n g styl e Pictur e s app e ar i n th e

.

c e n tral pa n e ls surr o u n d e d a n d fram e d by pai n t e d c ol u m n s ,

pilast e rs c o r n ic e s p e d e stals T h e archit e ct ur e is o ft en giv en

, ,
.

wit h p ersp e ctiv e e ff e ct fo r th e sak e of il l usi o n .

 G R E E K PA N T N G I I 41

(3) Th e O r n at e S tyl e c o mi n g d o w n i n t i m e to ab o ut 5 0 A D .

T his styl e sh o ws pictur e s i n th e pa n e ls a n d ab o ut th e m archi

t e c t u r a l o r n am e n t giv e n n o t so m u ch f o r p u rp o s e s o f frami n g
as for d e corati on Ill u si on w as also a n o bj e ct h e r e Th e
. .

S p e ctat o r w a s s u pp o s e d t o b e l oo ki n g n o t a t an actual wal l

pai n ti n g so much as at a pict u r e of a wall pai n tin g .

(4 ) T h e I n tricat e S tyl e dat e s d o w n to t h e d e structi o n of

Pomp e ii 7 9 A D ,
T his was a fi n a l d e v e lopm e n t o f t h e O r n at e
.

S tyl e a n d r an i n t o th e fa n tastic in d e sig n patt e r n a n d s e n s e o f , ,

il l u si on T h e r e w e r e pa n e ls balc on i e s st eps
.
, , ,

p o rch e s pai n t e d in p e rsp e ctiv e with d ecep

, ,

tiv e figur e s in th e m o r u p o n th e m .

T h e actual pict u r e s withi n t h e a r ch i t e c

tu r a l frami n gs vari e d littl e d ur i n g th e
p e ri o ds i n dicat e d T h e e arli e r o n e s w e r e
.

c h i e fly la n dscap e s wit h small figur e s an d

fill e d th e wh o l e spac e ; th e lat e r o n e s fil l e d
t h e small e r pa n e ls a n d sh ow e d myth o l ogical
gr o u ps gen r e a n d si n gl e fig u r e s Th e sub
, ,
.

j e c t s w e r e o ft e n C o pi e s o f G r e e k w o rks a n d — m FI G I o A >
H O RA

LY
. .

W LO E R I TA
vari e d in e xc e ll en c e wit h t h e pai n t e r u n d e r
'

takin g t h e m Th e gen r e w a s mor e strictly l o cal a n d o rig

.

i n al Th e sin gl e fig ur e s w e r e u s u ally th e b e st as r e ga r ds
.

th e ir e x e cuti on T h ey had grac e o f li n e a n d m o ti on a n d all

.

t h e tr u t h t o n atur e that d e c o rati o n r e q u ir e d S om e o f t h e .

backgroun ds w e r e flat tin ts o f r e d or black agai n st which th e

figur e was plac e d I n th e larg e r pi e c e s th e c o mp o siti on w as
.

r at h e r r ambli n g an d disj oi n t e d an d th e c o l o r harsh I n , .

lig h t an d sh ad e r e li e f an d p e rsp e ctiv e th e R oman pai n t e r s

- -
, ,

pr obably f o ll ow e d th e G r e ek e xampl e an d p e r h aps impr o v e d

up o ft .

R O M A N PA N TE R S I " D uri n g th e first fiv e c e n tu r i e s R om e

s e e ms to hav e b e en b e tw e e n th e i n flu en c e s of E t r uria a n d
G r ee c e T h e first pai n t i n gs
. in R o m e o f which th e r e is
42 I
H S TO R Y O F PA NT N G I I
r e co r d w e re d o n e i n t h e T e mpl e of Ceres by th e G r e e k artists
of L ow e r
Italy G org a su s a n d D am ophi lu s (fl 4 9 3 B C ) , . . .

T h e y w e r e do u btl e ss s om e w h at lik e t h e vas e pai n ti n gs

p r o file w o rk with o ut lig h t shad e ,

o r p e rsp e ctiv e A t th e , , .

tim e an d aft e r A l e xa n d e r G r e e k i n flu e n c e h e ld sway Fa b i u s .

Pi c t o r (fl about 300 B C ) is o n e o f th e c e l e b r at e d n am e s i n
. . .

hist o rical pai n ti n g a n d lat e r on Pacu vi u s M e tro d oru s a n d , , ,

S e r a pi on a r e m e n tio n e d I n t h e last c e n tury of th e R epublic .

,

S O p oli s D i on y si u s a n d A n ti och u s G ab i n i u s e xc e ll e d i n po r
, ,

f rait ur e A n ci e n t pai n ti n g r e a l ly e n ds fo r u s wit h t h e d e str u c

.

ti o n of Po mp e ii (7 9 A D ) th o ug h aft e r t h at (as also b e for e it) ,

th e r e w e r e i n t er e stin g portraits pr o duc e d e sp e cially those ,

f o u n d in th e Fay o um
XTA N T RE M A I N S " T h fr s s t h a t
E l ft t t d y e e co ar e e o us o— a a re

f
or th m s t pa rt t h w r k f m h a i a l d r a t r s r a th r t h a
e o e o o ec n c e co o e n cr e

a ti v a rti sts T h y
e t b s . i R m i t h B a t h s f Ti tus
e a re o e een n o e, n e o ,

th e V a ti a F a r s i a R p i g li i
c n, d B a r b ri i Pa l a s B a th s
ne n ,
os os ,
an e n ce ,

o f C a r a a ll a C ap i t li
c d La t r a ,
M us ums i th h us so f ne an e n e ,
n e o e o

e x ava t d P mp i i d t h N ap l s M us um B s i d s t h s t h r
c e o e ,
an e e e . e e e e e e

are e xamp l s f R ma fr s ed d i s t mp r i t h L uv r
o o d th r n e co a n e e n e o e an o e

E ur p a o M us ums e n E xamp l s f E tr us a pa i t i g
e t b s . e o c n n n a re o e ee n

i t h V a ti a
n e C rt a t h L uv r t h B ri ti s h M us um d l s
c n, o on ,
e o e, e e ,
an e e

w h r A t t h B rli M us um N a ti a l G a ll ry L d
e e . e e d M tr n e ,
on e ,
on o n , an e o

p lita M us um N w Y rk
o n xamp l s f t h Fa y um p rtr a i t s
e ,
e o ,
are e e o e o o

s h w i g t h G r k m th d f w r k i g wi th wax d l r ( aus ti )
o n e ee e o o o n an co o enc c

on w d pa l soo en ne .

S rib M g i n N w S ri s l v p
’
S ee c 9 n er s a az e, e e e ,
vo .
,
. 21 .
 C H A PTE R I V

I TA L I A N PA I NTI N G

E A RL Y C H RI S TI A N A ND NLEDI ZEVA L PE RI O D .
—
3 00 1 2 5 0

BO O K S R E C O M ME N D E D " B ay e t , L A r t Byzan ti n ; B e n n e tt ,
’

C h r i sti a n A r ch wology; B o s i o , L a R om a S otter ra n ea; C r o we

a n d C a v alc a se lle , N ew H i stor y of P a i n ti ng i n I ta ly (D o uglas

E ditio n ) ; D a l to n , B yzan ti n e A r t a nd A r ch wology; D e R o ssi ,

L a Roma S otterr a n ea C r i sti a n o ; D i dr on , Ch r i sti a n I con og
D i ehl , M a n u el de l A r t B yzan ti n ; E ast l a k e (Kil
’
r aph y;

) d k f i i h i S h
’
g le r s ,
H a n b oo o P a n t n g T e I ta l a n c oo ls ; F r o th i n g
ham , M on u ments of C h r i sti a n Rome; Garr u c ci , S tori a dell ’

A r te Cr i sti a n a; G e r sp a c h , L a M osai qu e; K o n da k ofl , H i stoi r e

'

de l A r t B yzan ti n ; L afe n e s tr e , L a P ei n tu r e I tali en n e; L a n z i ,

’

H i stor y of P a i n ti ng i n I ta ly; L ecoy d e la M a r ch e , L es M a n u

scr i ts et la M i n i a tu r e; L e th ab y , M edi ceva l A r t; L i n dsay ,
S k etch es of th e H i s tor y of C h r i s ti a n A r t ; L o w r i e , M on u men ts
of th e E a r ly C h u r ch ; M artig n y , D i cti on n ai r e des A n ti qu es
C h reti en n es; Per at e, L A r ch é ologi e C h r eti en n e; R e b e r , H i stor y
’ ’ ’

of M edi wva l A r t; R ic h t e r a n d T ayl o r , Golden A ge of C la ssi ca l

C h ri s ti a n A r t; R i o , P oetr y of C h r i sti a n A r t; S mit h a n d C h e e t

h am , D i cti on y f C ar o h r i s ti a n A n ti qu i ti es ; S p r i n g e r -
R icci ,

M a nn ale di S tor i a dell A r te; S tr zyg ow sk i , O r i en t oder Rom ;

’

Ve n turi , S tori a dell A r te I tati a n a; W ilp e r t , D i e K a tacomben

’

m l d
'

ge a e
.

I
R S E O F C H RI S T A N T I I Y " d e cay ing civiliz ati o n
O ut of th e

o f R om e S p r a n g i n to l if e that r e markab l e g r o wt h k n ow n as

C h ristia n ity It was n ot at fi r st w el c o m e d by th e R oma n s

. .

It was sco ff e d at scou rg e d p e r s e cut e d a n d at on e tim e

, , , , ,

n e arly e xt e r mi n at e d Bu t its vita l ity was st r o n g e r t h a n t h at

.
44 I
H S TO R Y O F PA NT NG I I
of its p e rs e cuto r a n d wh e n R om e d e cli n e d C hr istia n ity ar o se
, ,

a n d u tili ze d t h e thi n gs that w e r e R o ma n w h il e st r ivi n g t o

liv e fo r id e as t h at w e r e C hristia n .

T h e r e w a s n o r e v o lt n o s u dd e n cha n g e ,
T h e C h ristia n .

id e a mad e hast e S l owly a n d at th e sta r t it was w e igh e d d ow n

,

with ma n y paga n isms Th e C hristia n s th emse lv e s i n all sav e

.
,

r e ligi o us faith w e r e R oman s a n d i n h e rit e d R oma n tast e s

, , ,

ma n n e rs a n d m e th o ds Bu t th e R oma n w o rld with all its

,
.
,

classi cism a n d l e ar n ing was dyi n g T h e d e cli n e s o cially

,
.

a n d i n t e ll e ct u ally was with t h e C hristia n s as w e ll as t h e

R o ma n s . T h e r e w as g o o d r e as o n fo r it T h e tim es w e r e .

ou t of j oin t a n d alm o st e v e rythi n g w as dis o rga n i z e d

,
wo rn ,

o u t d e cad e n t
,
.T h e military lif e o f t h e E mpir e w as d e sti n e d
t o giv e way t o t h e m o n ast i c a n d f e u dal lif e o f t h e C h u rch .

Q ua r r e ls a n d wa r s b e tw e e n t h e p o w e rs k e pt lif e at f e v e r h e at .

I n t h e fifth c e n t u ry cam e th e i n p o u ri n g o f t h e G o ths a n d

H u n s a n d with th e m th e sacki n g a n d plun d e r of th e la n d
,
.

M is e ry a n d sq u al o r with i n t e ll e ct u al black n e ss s u cc e e d e d
, , .

A r t sci e n c e lit e ratu r e a n d l e ar n i n g d eg e n e r at e d t o m e r e

, , ,

shad ows o f t h e ir f o rm e r s e lv e s a n d a s emi barbarism r e ig n e d

,
-

for fiv e c e n tu r i e s D uri n g all this dark p e ri o d C hr i stia n

.

pai n ti n g struggl e d on i n a f e ebl e w ay s e e ki n g t o e xpr e ss its e lf ,

.

It start e d R oma n in f o rm m e th o d a n d e v e n at tim e s i n

, , , ,

s u bj e ct ; it e n d e d C hristia n but n o t with o ut a l o n g p e ri o d

,

o f g r adual t r a n siti on d u r in g which it w as i n fl u e n c e d f ro m

,

ma n y s o ur c e s an d u n d e rw e n t ma n y c ha n g e s .

ART M O TIV E S " A s i n t h e a n ci e n t w o rld t lle r e w e r e t w o

’

pri n cipal m o tiv e s fo r pai n ti n g i n e arly C hristia n tim e s .

r e l igi o n a n d d e c o rati o n R e ligio n w as th e chi e f m o tiv e b u t

.
,

C hristia n ity w a s a v e ry di ff e r e n t r e ligi o n fr o m that o f t h e

G r e e ks a n d R o ma n s T h e H e ll e n istic fa i th w a s a w o rship o f
.

n atu r e ,
a gl o rificati on o f h u ma n ity a n e xaltati on o f physica l ,

a n d m o ral p e r f e cti o n s It d e alt with th e mat e rial a n d t h e

.

ta n gibl e a n d G r e e k a r t app e al e d dir e ctly t o th e s e n s u o us a n d

,
46 I
H S TO R Y O F PA N T N GI I
Bu t w h at sh o ul d tak e its plac e in art ? H ow could th e
n e w C h r istia n id e as b e e xp r e ss e d without f o rm ? S ymb o lism
cam e in a n d h e ld fo r a tim e but it was i n sufli cien t A pa r ty in .

t h e C hurc h r os e up i n fa v o r o f dir e ct r e pr e s e n tatio n

'

,
A rt .

sho ul d b e us e d as an e n gi n e of th e C h u r c h to t e ac h th e Bib l e to
t h o s e w h o c o ul d n o t r e ad T h is a rgum e n t h e ld go o d a n d
.
,

n otwit h sta n di n g th e O pp o siti o n of th e Ic o n o clastic pa r ty

pain ti n g gr ew i n fav o r It l en t its e lf t o t e achi n g a n d cam e
.

un d e r e ccl e siastical d omi n ati on A S it l e ft th e n atur e o f th e

.

classic w o rl d a n d loo se n e d its g r asp on thin gs ta n gibl e it b e

cam e f e eb l e in its f o r m W hil e it g r e w i n pow e r as a t e ac h e r
.

it lost i n a rtistic vig o r a n d t e chn ica l ability .

Fo r c e n turi e s th e r e ligi o us m o tiv e h e ld stro n g a n d a r t was ,

t h e s e r va n t o f t h e C h urc h It ta u gh t th e Bib l e t r uths but

.
,

it also e mb el lish e d an d ad o r n e d th e i n t e ri o rs of th e c h u r ch e s .

A ll th e fr e sc o s a n d m o saics o f t h e tim e h ad a d e c o rativ e

.

m o tiv e in th e ir c o l o r i n g an d s e ttin g T h e wal l s o f th e C ata

.

combs wit h th e i r symb o lism a n d t h e i r Bib l e t e ac h in gs w e r e

pain t e d aft e r classic m o d e l s an d w e r e classical l y d e c o rativ e ;
a n d lat e r o n t h e c h u r ch b u ildi n g its e lf b e cam e a h o us e of r e f

u g e fo r t h e opp r e ss e d a n d was mad e att r activ e n o t o n ly i n

,

its li n e s an d p r op o rtio n s but i n its ric h h u e d mosaics wit h -

gold e n backgroun ds H e n c e th e two m o tiv e s of th e e a rl y

.

work r e ligious t e achi n g a n d d e co r ati o n

— .

TYPE S A N D TE C H N I C A L M E TH O D S " T h e r e w a s n o dis

t i n c tly J udaic o r C hr istia n typ e us e d i n t h e v e r y e ar l y a r t .

T h e pai n t e r s t oo k t h e i r mod e ls di r e ctly f r o m t h e old R o ma n

fr e sc o s an d marbl e s It w a s th e classic figur e with t h e classic
.

costum e an d thos e w h o p r od u c e d th e pai n ti ng o f th e e arly

,

p e ri o d w e r e th e d e g en e r at e pai n t e rs of th e classic world .

T h e figur e alm o st at t he start w a s r at h e r sh ort c o ars e i n th e ,

joi n ts h a n ds a n d f e e t a n d alm o st e xpr e ssio n l e ss i n th e fac e

, , ,
.

C hristia n lif e at that tim e w a s passi o n wr u n g but t h e fac e s

-
,

i n a r t d o n o t sh ow it fo r t h e r e aso n t h at t h e o ld R o ma n f r e scos
,
 I TA LIA N PAI N T N G I 47

w e r e th e pai n t e r s m o d e l n ot th e p e op l e of th e C h ristian
’
,

c o mmu n ity about h im T h e r e was n ot h in g l ik e a r e alistic

.

pr e s e n tati on of th e tim e an d th e p eop l e T h e Cl assic typ e .

al on e was giv en .

Th is t yp e as r e ga r ds its d r awin g was n o t so w e ll do n e as

FI G 21 — CH RI S T A S G D
OO SH E P HER D s G E N E RO S A
U Y (P)
. . . . .

S E VE N TH C E NT R .

th e figu r e sh own in th e R o man an d Pomp eia n f r e scos Th e r e .

was a m e chan ism ab o ut its producti on a Copyi n g by u n skill e d ,

h an ds a n egl ig e n c e o r a n ig n o ra n ce o f f o rm that S how e d

,

e v e r yw h e r e
. T h e colo r i n g agai n w as a c o n v e n tio n al sch e m e
, ,

of flat tin ts in r e ddish b r ow n s a n d bluish gr e e n s wit h h e avy

- -
,

outli n e ban ds of b r ow n Th e r e was litt l e p e rsp e ctiv e o r

.
48 I
H S TO R Y O F PA N T N G I I
backg ro u n d an d th e figu r e s i n pa n e ls w e r e s epa r at e d by vi n e s
, ,

l e av e s o r o th e r o rn am e n tal patt e r n S om e r e li e f w as giv e n

,
.

to th e figur e by th e b r own o u tli n e s L ight a n d shad e was .

- -

n o t w e ll r e n d e r e d a n d c o mp o siti o n w a s f o rmal
,
T h e gr e at .

part of t h is e arly w o rk w a s d o n e i n fr e sc o O t h e r f o rms o f .

art S h o w e d in t h e gild e d glasse s i n p o tt e ry a n d lat e r i n th e

, , , ,

m o saics .

E AR LY C H R I S TI A N PA I N TI N G " Th e e arli e st
.
C h ristia n
pai n ti n g o f imp o rta n c e app e a r e d o n th e walls o f t h e C ata
c ombs i n R o m e T h e walls w e r e d e c o rat e d with pa n e ls an d
.

Withi n th e pan e ls w e r e r ep re s en tatio n s o f tra ili n g vi n e s l e av e s , ,

fruits fl ow e rs with birds an d littl e g e n ii or cupids It was

, ,
.

pai n ti n g S imilar t o th e R oman wo r k a n d had n o C hr istia n ,

sig n ifica n c e th o ugh i n a C h ristia n plac e S om e t im e aft e r .

,

h ow ev e r th e d e sir e to e xp r e ss som e thi n g of th e faith b ega n

,

t o S h o w its e lf i n a symb o lic way T h e cups a n d t h e glass e s

.

b e cam e mark e d wi th th e fish b e caus e th e G r e e k sp e lli n g o f

,

th e w o rd i c th u s gav e th e i n itials o f th e C hristia n co n fes

“ ”

si on o f faith T h e pai n ti n gs o f th e sh e ph e rd b e ari n g a sh e ep

.

symb oli ze d C hrist a n d his fl o ck ; th e a n ch o r m e an t th e C hris

ti an h op e ; th e ph oen ix imm o rtality ; t h e sh ip th e C hurch ;
t h e c o ck watchful n e ss a n d so o n A n d at t h is tim e th e d e cora
,
.

ti on s b e ga n to hav e a d o ubl e m e a n i n g Th e vi n e cam e to r ep .

r e s e n t t h e I am th e vi n e an d t h e bi rds gr e w l on g er wi n gs
“ ”

a n d b e cam e d o v e s symb o li zi n g pur e C h r istia n s o uls

,
.

It has b e e n said this f o rm of art cam e about th ro ug h f e a r

of p e r s e cutio n t h at th e C h ristia n s h id th e i r id e as i n symb o ls
,

b e caus e op e n r ep r e se n tatio n w o ul d b e foll ow e d by vi o l e n c e

a n d d e s e crati o n S uch was ha r dly th e cas e
.
T h e e mp e ro r s .

p e rs e cut e d th e livi n g but th e d e ad an d th e ir s ep u lchr e s w e r e

,

e x e mpt fr o m sacril e g e by R o ma n law T h e y pr o bab l y u s e d .

t h e symb o l b e ca u s e th e y f e ar e d t h e R o ma n fig u r e an d k n e w
n o o th e r f o rm t o tak e its plac e B u t symbolism did n o t .

e n tir e ly m e e t t h e p op u la r n e e d ; it was imp o ssibl e t o o r igi n at e

 ITA LIA N I
PA N T N G I 49

a n ew figur e ; so th e pai n t e r s w e n t back an d b o rrow e d th e old

R oman f o rm C h r ist app e a r e d as a b e a r dl e ss y o uth i n Ph ryg
.

i an c o stum e th e Virgi n M a r y was a R o ma n matr on an d th e

, ,

A p o stl e s cam e f o rth as R oma n s e n at o rs w e a r i n g th e t oga .

C lassic st o r y was als o b o r r ow e d t o illustrat e B ib l e t r ut h .

H e rm e s ca r ryi n g th e sh ee p was th e G o o d S h ep h e rd Psych e ,

disc ov e ri n g C u pid was th e curi o sity o f E v e Ulyss e s cl o si n g ,

his e ars t o th e S i r e n s w as th e C hristian r e sistin g th e t empt e r .

T h e paga n O rph e us Ch armi n g th e a n imals o f th e w o od was

FI G . 22 .
— C H RI S T A N D S A I N TS . s . G ’

E N E RO S A . SE V E N TH UY
CE NT R

fi n ally a dop e d as a f o r e r u n n e r a symb ol or p e rhaps a n id e a l, ,

lik e n e ss o f C hrist T h en f o ll ow e d m o r e dir e ct r e pr e s en tati on

.

i n classic f o rm a n d ma nn e r th e O ld T e stam e n t p r e fig u r in g
,

a n d e mphasi zin g t h e N e w J on a h app e ar e d cast i n t o th e se a

.

a n d cast by t h e w h al e o n d r y la n d agai n as a symb o l O f t h e

N ew T e stam e n t r e surr e cti o n a n d als o as a r e pr e s e n tati on o f

,

th e actua l o ccu r r e n c e M os e s st r iki n g t h e r o ck symb o li ze d

.

lif e e t e r n al a n d D avid slayi ng G ol i at h w as C hrist vict o ri o us

,
.

T h e chr o n ol o gy o f t h e C atac o mbs pai n ti n g is v e r y muc h

mix e d b u t it is quit e c e r tain th e r e w as d eg e n e racy fr om th e
,

sta r t in p r op o rti o n as pain ti n g w as r e mov e d f r o m th e k n owl

5 0 I
H S TO R Y I
O F PA NT N G I
e dg e o f th e a n ci en t world T h e caus e was n egl e ct o f fo rm
.
,

n e gl e ct o f art as art m e cha n ical c opyi n g i n st e ad o f n atu r e

,

st u dy a n d fi n ally th e p r e domi n a n c e o f th e r e ligious id e a o v e r

, ,

t h e forms of n atu r e W ith C o n sta n ti n e C hr istia n ity was

.

r e cog ni ze d as a n ati on al r e ligio n C hristia n art cam e o u t of

.

t h e C atac o mbs a n d b e ga n t o S h ow its e lf i n chu r c h d e c o r ati o n .

Bu t n otwithsta n di n g it w a s n ow fr ee f r o m r e strai n t it did n ot

improv e .C h u r ch t r aditi o n s p r e vail e d s e n tim e n t b o rd e r e d
,

upo n s en tim e n tality a n d th e t e c hn iqu e of pai n ti ng pass e d

,

f r om bad t o wo r s e .

L ATER C H R I S TIA N ART " D u ri n g th e latt e r pa r t of th e

fifth c e n tury th e figu r e gr e w h e avy an d st iff A n ew typ e .

b e ga n t o sh ow itse lf T h e R o man toga was e xchan g e d fo r

.

t h e l o n g l itu r gica l ga r m e n t w h ic h h id t h e pr opo r ti on s o f t h e

b o dy t h e l i n e s gr e w da r k an d h ard a go ld e n n imbus ap
, ,

ea r e d ab o u t t h e h e ad a n d t h e patria r chal i n app e ara n c e

p ,

cam e i n t o art T h e y o uthf u l O rphic fac e o f C h rist was

.

l arg e ly s u p e rs e d e d by a so l e m n visag e wit h larg e r o u n d ,

eyes ,
sai n t lik e b e ard an d m e lan c ho ly ai r T h e classic
-
,
.

qualiti e s w e r e fast faili n g .

T h e d e cli n e c o n ti n u e d duri n g th e sixt h a n d s e v e n t h c e n

t u r i e s owi n g s om e w h at p e r h aps t o t h e i n flu e n c e of By z a n ti n e
,

art a n d th e i n tr o d u cti o n i n t o Italy o f E aste rn typ e s a n d ele /

m e n ts I n th e e ighth c e n tury th e Ic on oc l astic co n t rov e rsy

.
'

brok e o u t agai n in f u ry wit h th e e dict o f L eo th e Isaurian .

T his c o n tr o v e r sy w as a r e n e wa l o f th e o l d qua rr e l i n th e C hurc h

ab o ut th e u se o f pict u r e s an d imag e s S om e wish e d t h e m for .

i n structi on in th e W ord ; o t h e r s d e c r i e d t h em as l e adi ng to

idolatry It w as a l o n g qua rr el a n d a d e adl y on e for art
.
, .

W h e n it e n d e d th e artists w e r e o rd e r e d t o f ollow t h e t r adi

,

ti o n s n o t t o mak e an y n ew cr e ati o n s a n d n o t to m o d e l a n y
, ,

figu r e i n th e r o u n d T h e n atur e e l e m en t in art w a s q u it e

.

d e ad at t h at tim e a n d th e o rd e r r e sult e d o nl y in div e rti n g th e

,

c ours e o f pai n t in g t oward th e u n r e strict e d mi n iatu r e s an d

 I TAL I A N I
PA N T N G I 5I

man usc r ipts Th e n ativ e Italia n a r t was crush e d fo r a tim e

.

by t h is n ew e ccl e siastical bu r d e n It did n ot e n ti r e ly dis .

app e a r but it gav e way t o th e st r on g e r th o ugh e qually r e

, ,

st r i c t e d art that h ad b e e n e n c r o achin g upo n it fo r a l o n g

tim e th e a r t of th e E ast e r n E mpi r e .

FI G 23 -
MA D O NN A A ND CH I LD B Y Z A N TI N E
YL U FF Z FL
. . .

ST E . I I, O RE N C E .

Z I
BY A N T N E PA N T N G I I " C o n sta n ti n op l e (By z a n tium ) was
r ebuil t r e christ e n e d by C on stan tin e a C h ristian e mp e ro r
an d , ,

i n th e y e a r 3 2 8 A D It b e cam e a str on g h o ld o f C hristia n

. .

t r aditi on s ma n n e r s customs a r t Bu t it was n o t q u it e th e

, , ,
.

sam e Civili z ati o n as t h at o f R om e an d th e W e st It was .

b o rd e r e d o n th e sout h an d e ast by o ri e n ta l i nflu e n c e s an d ,

muc h of E ast e r n t h oug h t m e t h o d an d glam o ur f o u n d its

, ,

way i n t o th e C hristian c ommun ity Th e artists fo u g h t this .

5 2 I
H S TO R Y I
O F PA N T N G I
i n fl u e n c e stickli n g a l o n g t im e for th e s e v e r e r classicism o f
,

a n ci e n t G r e e c e Fo r w h e n Ro m e f e ll th e t r aditio n s o f th e
.

O ld W orld c e n tr e d a r ou n d C o n sta n ti n opl e Bu t classic f o rm .

w as e v e r b e i n g e n cr o ach e d u p o n by o r i e n tal r ich n e ss o f

mat e rial a n d c o l o r T h e struggl e w a s a l o n g b u t h op e l e ss on e
. .

A s i n Italy f o rm fail e d c e n t u ry by c e n tu r y
,
W h en i n t h e .
,

e ighth c e n t u ry t h e Ic o n o clastic co n tr o v e rsy cut away t h e

,

littl e G r e e k e xisti n g in it th e o r i e n tal o r n am en t w as ab o ut

,

all t h at r emai n e d .

T h e r e w a s n o cha n c e fo r pai n ti n g t o r is e u n d e r t h e pr e vail

in g co n diti on s F r e e artistic cr e atio n w a s d e n i e d t h e artist
. .

A n adv o cat e of pai n ti n g at th e S e c on d N ic e n e C ou n cil

d e clar e d that " It is n o t t h e i n v e n tio n of th e pai n t e r t h at
“

cr e at e s t h e pictur e b u t an i n vi o labl e l aw o f t h e C ath o lic

,

C h u rch .It is n o t th e pai n t e r but th e holy fath e rs w h o

hav e to i n v en t a n d dictat e T o t h e m man if e st l y b e l o n gs th e
.

c omp o siti on t o th e pai n t e r o n ly th e e x e cutio n

,
Pai n ti n g .

w as i n a strait jack e t -
It h ad t o f o ll o w p r e c e de n t a n d copy
.

w h at h ad go n e b e for e in O ld By z a n ti n e patt e r n s Both i n .

Italy an d in th e E ast th e cr e ativ e artist had pass e d away i n

favor of th e skill e d ar tisa n th e r ep e at e r of tim e h o n o r e d — -

f o rms or c ol o rs T h e w o rkman ship w a s g oo d fo r th e tim e

.
,

a n d th e c o l o ri n g a n d o r n am e n tal bo r d e r s mad e a rich s e tti n g

but th e r e al lif e o f art h ad g o n e A l ong p e ri o d o f h e avy .

,

m o r o s e alm o st f o rml e ss art e loqu en t o f m e di aeval da r kn e ss

, ,

a n d ig n ora n c e fo ll o w e d Th e figu r e b ecam e d e c r epit par

,
.
,

aly t i c
. It w as S h r o u d e d i n a sack lik e ga rm e n t had n o f e e t -
,

at tim e s a n d i n st e ad of sta n din g on th e grou n d h u n g i n

,
’

t h e air . F acial e xpr e ssi o n r a n t o c o n tort e d f e at u r e s h o li n e ss ,

b e cam e m o r o s e n e ss a n d sad n e ss s u lki n e ss A dd to this th e

,
.

g o ld gr o u n d (a Pe rsia n i n h e rita n c e ) t h e gild e d high l ights , ,

t h e abs e n c e o f p e rsp e ctiv e a n d t h e c omp o si n g o f g ro ups so

,

that t h e fig u r e s l o o k e d pil e d o n e up on a n o th e r i n st e ad of
r e c e di n g a n d w e hav e th e styl e o f pai n ti n g that pr evail e d
,
54 H S TO RI Y O F PA NT N G I I
disput e It p robably gai n e d a f oo t h ol d at R av e n n a i n th e
.

fift h c e n tu ry d ur i n g t h e tim e o f T h e o d o ric a n d b e fo r e that

,

p r o vi n c e b ecam e a part o f th e e mpi r e o f Ju sti n ia n It also .

p e rm e at e d R om e S icily a n d N ap l e s at t h e sout h a n d Ve n ic e
, , ,

at th e n o r th W it h t h e d e cli n e o f t h e e arly C hristia n a r t of

.

Italy t h is ric h e r an d i n man y ways mor e acc e ptabl e By za n ti n e

, ,

a r t cam e i n a n d wit h Italia n m o dificati o n s usurp e d th e fi e ld

, , , .

It did n o t lit e r ally c r ush o u t th e n ativ e Italia n art but pra e ,

tically it domi n at e d it o r h e l d it i n ch e ck fr om th e n i n t h t o , ,

t h e tw e lft h c e n t ur y E v e n at t h at lat e dat e th e r e w a s s o m e

.

r e vival o f Byza n ti n e mosaic w o rk t h o u g h pai n tin g o n pa n e l

a n d wall was b e gi n n i n g t o tak e n e w f o r m a n d sig n s of t h e ,

G o thic awak e n i n g w e r e visibl e .

E AR LY C H R I S TIA N A ND BY Z A N TIN E RE M A I N S T h b s t " e e

e xamp l s f E a rly C h ri s ti a pai ti g

e o s till t b s i t h C a t a n n n are o e een n e

co m b s t R m M sai s i t h a rly hur h s f R m R av a

a o e . o c n e e c c e o o e, enn ,

N ap l s e V i, C s t a t i p l S u l p t u r s i v ri s
en ce , on d g l ass sn no e . c e ,
o e ,
an e

i
n th La t r a R av a d V a ti a mus ums I llum i a ti s i
e e n, enn ,
an c n e . n on n

th V a ti a
e d Pa ri s li b r a ri s
c n an A l m s t ll t h mus ums f E u r p e . o a e e o o e,

t h s f t h V a ti a
o e o e d N ap l s pa rti ul a rl y h av s m
c n an xamp l s f e c ,
e o e e e o

B y a ti
z n w r k T h l d r a lt a r p i s f t h a rl y I t a li a h ur h s
ne o . e o e -
e ce o e e n c c e

d at ba k t
e th
c m di va l p ri d d s h w By a ti i flu
o e e ae e o an o z n ne n e n ce .

Th e a lt a r p i s f t h G r k d R uss i a h ur h s h w t h sam
-
e ce o e ee an n c c e S o e e

i flu
n v i m d r w rk
e n ce e en n o e n o .
 C H A PTE R V

I TAL I A N PA I N TI N G

G O TH I C PE RI O D . 1 25 —
0 1 4 00

BO O K S R E C O MM E N D E D " A s b e f o r e , C r o w e a n d C ava l ca
s e l l e , E ast l ak e , L af e n e st r e , L a n zi , L in dsay , R eb e r ; a l so
B e r e n s o n , A S i en es e P a i n ter (S ass etta ) of th e Fr a n ci sca n L egend;
C en tr a l I ta li a n P ai n ters of th e R en ai ssa n ce; D r awi n gs of F lor en
ti n e P ai n ter s ; F lor en ti n e P a i n ter s of th e R en a i ssa n ce; N or th
I tali an P a i n ter s of th e R en ai ssa n ce; S tu dy a n d C r i ti ci sm of
I tali a n A r t; V en eti a n P ai n ter s of th e R en a i ssan ce; B r o wn a n d
R a n ki n , S h or t H i stor y of I ta li an P a i n ti n g; B u r ckhardt , D er
C i cer on e , E d B ode; C a ta logu e of P i ctu r es i n th e N a ti on al Gal
.

ler y, L on don (u n abridg e d e diti on ) ; C r o w e a n d C a v a lc a selle ,

H i stor y of P a i n ti n g i n N or th I taly (B or e n i u s E diti on ) ; D o u g
l as , Fr a A ngeli co; FOr st e r , L eben u n d W er k e des Fr a A ngeli co;
Fr i zz on i , A r te I ta li a n a del R en a sci men to; M o r e lli , I tali a n
M a ster s , C r i ti ca l S tu di es i n th ei r W or ks; I tali an M aster s i n
German Ga ller i es; Pe rki n s , Gi otto; R icci , A r t i n N or th er n
I ta ly; R um o hr , I tali en i sch e F orsch u n gen ; S c h ubri n g , A lti
ch i er o u n d S ei n e S ch u le; S e li n c o urt , Gi otto; S ir en , Gi otti n o;
Gi otto; D on L or en zo M on a co; S til lma n , Old I ta li a n M a ster s;
T h o d e , Gi otto; Vasari , L i ves of th e M ost E mi n en t P ai n ter s;
W e ig e lt , D u cci o di B u on i n segn a .

I
S GNS O F TH E A W A K E N N G I
It w o ul d s e e m at first as
"

t h o ugh n o thi n g but s e l f d e structio n could c o m e t o t h at strug

-

gli n g p r ayi n g wa rr i n g p eop l e t h at k ept Italy in a f e rm e n t

, ,

d u ri n g th e M e diaeva l Pe ri o d T h e p e op l e w e r e ig n o r a n t t h e
.
,

rul e rs t r e ach e r o us th e passi on s str on g an d y e t o u t o f t h e

, ,

D ark A g e s cam e l ig h t I n th e t h irt ee n t h c e n tury t h e lig h t

.
5 6 I
H S TO R Y O F PA NT N GI I
grew b right e r b u t th e i n t e r n al diss e n sio n s did n o t c e as e
, .

T h e H o h e n stauf e n p o w e r w a s br o k e n th e imp e ria l r u l e i n

,

Italy w as c ru sh e d Pop e a n d e mp e r o r n o l o ng e r w e r e at war,

b u t t h e cri e s of G u e lf a n d G hib e lli n e h ad n o t di e d o u t
“ ”
.

T h r o u g h o u t t h e e n tir e R o ma n e sq u e a n d G o thi c p e r i o ds
(1 000 1 4 00) Italy w a s tor n by p o litical wars th o u g h th e fr ee
—
,

citi e s thr o ugh th e i r l e ag u e s o f p r ot e cti o n a n d th e i r c o mm e rc e

, ,

w e r e prosp e r o us A c o mm e rcial rivalry spra n g u p am o n g

.

t h e citi e s . T rad e with th e E ast ma n u factur e s ba n ki n g all

, , ,

fl o urish e d ; a n d e v e n th e phil o sophi e s with law sci e n c e a n d

, , ,

lit e ratur e b e ga n to b e st u di e d T h e S p i rit o f l e ar n i n g sh o we d

,
.

its e lf i n th e fou n di n g o f sch ool s an d u n iv e rsiti e s T h e r e w as .

a mark e d i n t e r e st n o t o n ly in classic lit e rat u r e b u t classic art .

T h e sc u lpt o rs a n d th e pai n t e rs at this tim e t h o ugh stil l i n ,

b on dag e t o th e old Byz an ti n e traditi on gav e pl e n ty of ev i ,

d e n c e that th ey had b e e n studyi n g th e R oma n marbl e s .

A gai n art sh owe d n ow m o st d e cisiv e ly that t h e artists w e r e

at tim e s l oo ki n g away f r o m th e O ld m o d e ls at th e n e w m o d el
o f n at u r e . S craps a n d studi e s o f nat u r e i n fi g u r e la n dscap e , ,

a n d gen r e w e r e appar e n t e v e rywh e r e i n t h e p i ct u r e s It was .

t h e a g e o f l o o ki n g o u tward th o u g h th i s m u st n o t b e tak e n t o
m e a n that th e r e was n o l on g e r an y l ooki n g i n ward R e l i gi o n .
,

e m o ti o n,
t e n d e r n e ss w e r e n e v e r m o r e i n e vid e n c e tha n j u st
at this tim e Faith i n quiry n atur e study arch ae o l ogical
.
, , ,

st u dy w e n t al o n g t o g e th e r D a n t e Pe trarch an d Bo ccacci o
.
, , ,

r e fl e cti ng r e sp e ctiv e ly r e ligi on classic l e ar n ing a n d th e i n

, ,

c li n a t i o n t o ward n atur e l i v e d at th i s tim e a n d a r e e x e mplars

,

i n th e ir w o rks o f t h e tr e n ds o f G o thic th o u ght .

S UB J E C T S A N D M E TH O D S " I n pai n ti n g th o u g h th e r e w e r e ,

som e p o rtraits a n d all ego rical sc e n e s pr o d u c e d d u ri n g th e

G o thic p e ri o d th e chi e f th e m e w as Bibl e st o ry
,
Th e C hurch .

was th e patr o n a n d art was o n ly t h e s e rva n t as it had b e e n

, ,

fr o m t h e b e gi n n i n g It w as th e i n st ru ct o r an d c o n so l e r o f
.

t h e faithf u l a m e a n s wh e r e by t h e C h urch mad e c o n v e r ts

, ,
 ITA LIA N PAI N T N G I 57

an d an ad o rn m e n t o f wall an d altar It h ad n o t e n tir e ly .

e scap e d f r o m symb o lism It was still t h e p o rtrayal o f thi n gs

.

f o r what th e y m e a n t r ath e r tha n fo r what th e y l oo k e d

, .

T h e r e was n o s u ch thi n g as art f o r art s sak e i n this p e ri o d

’
.

It was art fo r r e ligi o n s sak e ’

.

T h e d e ma n d fo r pai n ti n g i n c r e as e d a n d its subj e cts multi ,

pli e d wit h th e e stablis hm e n t a t t hi s tim e of th e tw o p o w e rf ul

FI G . 25 .
-
G I O TT O . ST . JO HN AT P A TM O S . S . C R O CE , FL O RE N C E .

o rd e r s o f D omin ica n an d F ra n ciscan m on ks T h e first e xact e d .

f rom th e pain t e rs m o r e l e ar n e d a n d i n str u ctiv e wo rk ; th e

s e c on d wish e d fo r th e cr u cifixion s t h e martyrd oms t h e , ,

dramatic d e aths w h e r ewit h t o m o v e p eopl e by e m o ti o n al

,

app e al T h e i n flu e n c e of t h e t e achi n gs of S t F ra n cis (di e d

. .

1 2 2 6 ) a n d th e Fr a n cisca n l e g e n ds was e n o rm o u s Th e t en d er .

n e ss t o wa r d sain t a n d huma n t h e e m o ti o n al l o v e o f n at u r e
, ,

t h e p r o fou n d r e ligi o us b e li e f sh o w n i n t h e pict ur e s o f t h e G o thi c

p e r i o d may b e t r ac e d alm o st dir e ctly t o th e Fr a n cisca n cult .
5 8 HI S TO R Y I
O F PA NT N G I
E sp e cially is t h is tru e of th e S ch ool of S i en a as we sh a ll p r e s
en tly se e .

To fs e t this th e u ltra r e l igi o us c h aract e r o f pai n ti n g was

Of -

e n croach e d upo n s o m e what by t h e gr o wth o f t h e pai n t e rs

’

g u ilds a n d art p r o ductio n larg e ly passi n g i n t o th e h a n ds of

,

laym e n I n c o n s e qu e n c e pain ti ng pr o d u c e d man y th e m e s an d

.

gav e v e n t to man y t h o ugh ts but at fi r st o n ly aft e r th e By zan

ti n e styl e T h e pai n t e r was m o r e of a workma n t h a n a n
.

artist Th e C h u r ch had mor e u se for h is fi n g e rs tha n for

.

h is cr e ativ e ability It was stil l h is b u si n e ss t o t ra n scrib e

.

what h ad g on e b e fo r e T his h e did b u t n o t with o ut sig n s

.
,

h e r e an d t h e r e of un e asi n e ss an d disc on t en t with th e patt e r n .

T h e r e was a n i n cli n ati o n t o wa r d s o m e t h i n g tr u e r to n atur e ,

but at th e b e gi n n i n g n o gr e at r e al i z ati on o f it T h e study o f

, ,
.

n atu r e cam e i n sl o wly a n d pai n ti n g w as n o t p o sitiv e or i n

,

dividual i n s tat e m e n t u n til th e tim e o f G i o tt o .

Th e b e st pai n ti n gs duri n g t h e G o thic p e ri o d w e r e e x e cut e d

upo n th e wal l s o f th e chu r ch e s i n fr e sc o T h e p r epar e d c o l o r .

was laid o n w e t plast e r a n d all ow e d t o so ak in Th e smal l

,
.

a l ta r an d pa n e l pictu r e s r ep r e s e n ti n g th e M ad on n a C h rist
, , ,

t h e A p o stl e s a n d ot h e r sc e n e s w e r e pai n t e d i n di st emp e r

, , ,

t h e g o ld gro u n d a n d ma n y By z a n ti n e f e atur e s b e i n g r e tain e d

by most o f th e pai n t e rs th o u gh discard e d by som e f e w T h e
,
.

w o r kman ship was g e n e rally e xc e ll e n t n o matt e r what t h e

utt e ra n c e o r what its f o r m T h e traditi o n o f th e c r aft h ad.

b e e n e stablish e d b e for e th e disc o v e ry o f n atur e o r th e a n t i qu e

and t h e n e wly e stablish e d g u ilds m e r e ly pe rp e t u at e d it
-
,

carri e d it o n Kn owl e dg e skill i n t eg ri ty i n th e w o rk w e r e

.
, , ,

qualiti e s h a n d e d dow n fr o m fath e r t o so n a n d th e s e w e r e th e ,

s ol id bas e s up on w h ic h Italia n a r t aft e rwa r d r e st e d du r i n g

t h e fl ow e ri n g p e ri o d o f t h e R e n aissa n c e .

C H A N G E S I N TH E TYPE E T C " T h e adva n c e o f Italia n ,

.

a r t i n th e G o t h ic a g e w a s at first a n adva n c e th ro ug h th e
d e v e l o pm e n t of t h e imp o s e d By za n ti n e patt e r n It was n ot .
 I TA LI A N I
PA N T N G I 59

a r e v o lt o r a sta r ti n g o u t a n e w o n a w h olly origi n al pat h .

W h e n p eopl e b e ga n t o sti r i n t e ll e ctually t h e a r tists f o u n d t h at

t h e old By z a n t i n e mod e l did n o t look l ik e n atur e They .

b egan n o t by r e j e cti n g it but by imp r ovin g it givin g it slig h t

, , ,

mov em en ts h e r e a n d t h e r e tur n in g t h e h e ad th r o wi n g ou t a , ,

h an d or sh ifti n g th e folds of d r ap e r y Th e E ast e rn typ e was

,
.

FI G . 26 .
-
AN D RE A DA F Z
I RE N E RE S URR E CTI O N . s . M . NO V LL FL
E A, O RE N C E .

stil l s e e n in th e l o n g path e tic fac e obliqu e e y e s stiff r ob e s

, , ,

thin fin ge r s abs e n c e o f f e e t ; but th e pai n t e rs n ow b ega n

,
an d

to
w a d e
n n liv e n it M o r e r e alistic Italia n fac e
. s w e r ‘
e\

in tr o d u c e d archit e ct u ra l a n d la n dscap e backgr o u n ds e n

,

c r oa ch e d up o n th e By z a n ti n e g o l d gr o u n ds e v e n p o rtraitu r e ,

was tak en up .

T h is l o oks v e ry muc h lik e r e alism but w e must n o t lay ,

t oo muc h str e ss upo n it T h e pai n t e r s w e r e taki n g n o t e s o f

.

n atural app e ara n c e s T h is sh o w e d i n f e atu r e s lik e th e h a n ds

.
,
60 I
H S TO R Y O F PA N T N G I I
f e e t a n d d rap e ry ; b u t t h e a n at o my o f th e b o dy had n o t y e t
,

b e e n studi e d a n d th e r e is n o r e aso n t o b e li e v e th e i r study

,

o f t h e fac e w as mor e tha n casual n or th e i r p o rtraits m o r e

,

tha n r e c o rds from m em o ry .

N o o n e pai n t e r c a n b e said t o h av e b e g u n t h is m o v e m e n t .

T h e wh o l e artistic r e gi o n o f Italy w as at that tim e r e ady f o r

t h e adva n c e . T hat all t h e pai n t e rs m o v e d at ab o u t t h e sam e
pac e a n d c o n ti n u e d t o m ov e at that pac e d ow n t o th e fift e e n t h
,

c e n tury that th e y all bas e d th e ms e lv e s larg e ly up on By za n ti n e

,

t e achi n g a n d that th e y all had a S imilar styl e o f w o rki n g is

,

pr o v e d by t h e gr e at diffi c u lty i n attrib u ti n g t h e ir e xisti n g

pict u r e s t o c e rta in mast e rs o r e v e n c e r tai n sc h o o ls T h e r e
,
.

a re pl e n ty o f pict u r e s i n Italy t o day that might b e attribut e d

-

t o e ith e r Fl o r e n c e o r S i e n a t o D ucci o o r C im ab u e o r C aval

,

li n i o r t o s o m e oth e r mast e r ; b e ca u s e th o u g h e ach mast e r a n d

e ach sch oo l had sli g ht p e c u liariti e s y e t th e y all had a c o mm o n
,

orig i n i n th e art traditi on s o f th e tim e A s stat e d ab ov e .

t h e p o sitiv e ly p e rs on al w ay o f w o rki n g did n o t c o m e i n u n

til lat e r with m e n l i k e G i o tt o L o r e n ze tti a n d S im o n e M a r ti ni
, , .

T h e r e a r e n am e s of pai n t e rs app e ar i n g at t h is tim e b u t

th e y a r e har dl y m o r e tha n n am e s S u ch w o rks as w e p oss e ss
.

O f M arg ar i t o n e o f A r e zz o G i u n t o o f Pi s a G u i d o o f S i e n a S h o w
, ,

littl e m o r e tha n e xc epti on al goo d w o rkma n ship aft e r th e old

m e th o ds with n ow a n d th e n a cas u al u tt e r a n c e ab o ut s om e
d e tail o f n at u r e T h e cas e o f C avall i ni (fl c 1 2 73
. a. .

R o ma n pai n t e r is s om e what di ff e r e n t T h o u gh w e k n o w v e ry
,
.

littl e ab o u t him that littl e sugg e sts that h e w a s p e rhaps i n

flu e n ce d by R o ma n as w e ll as By za n ti n e m o d e ls H e a l so .

w as o n e o f t h e first t o mak e u n m i stakabl e stud i e s o f n atu r e .

H e st oo d q u it e al o n e a n d l e ft n o s ch oo l b u t h e c e rtai n ly gav e
art a n imp u ls e n o t o n ly t oward n at u r e b u t t o ward th e m o n u
m e n tal i n styl e T h e r e w e r e pa in t e rs o f n am e th o u g h o f small
.

n o t e i n all t h e larg e c i ti e s o f Italy at this tim e b u t t h e m o v e

m e n ts o f t h e tim e fi n ally c e n tr e d i n Fl o r e n c e a n d S i e n a
m I
H S TO R Y O F PA NT N G I I
laws o f n atur e a n d art His a r t was t h e b e st o f its tim e an d
.
,

is r e ally gr e at art fo r a n y tim e N on e o f h is imm e diat e fo l

.

l ow e rs a n d pupils c o u ld r e ach u p t o it H e se t t h e pac e a n d

.

his i n flue n c e w as wid e sp re ad for a c e n tu ry but t h e re was

-

l ittl e adva n c e u n til th e tim e of th e R en aissa n c e .

Ta d d e o G a d d i (1 3 00 ?
on m
—
G i o tto s
’

pupil s was a pai n t e r o f ,

much f ee l i ng but lack e d ,

i n th e l arg e e l e m e n ts o f
c on structi on an d i n th e
d r amatic f o rc e of his
mast e r His n at u r e st u dy .

is appar e n t b u t rath e r
trivial o r i n con se qu e n
tial A g n o l o G a d d i .

(I 33O P A n t on i o
V e n e z i a n o (I 3 I 2
G i ova n n i d a M i
lan o (fl Andrea .

d a Fi r e n ze (c .

B e r n ar d o D a ddi (1 2 99
w e r e all fo ll ow e rs o f th e
G i o tt o m e th o ds a n d ,

w e r e so simila r in th e i r
styl e s that th e ir works
a r e o ft e n c o n fus e d a n d

e rr o n e o usly attribut e d .

m" M S
T h ey we re
2"
s om e th i n g
’ ‘

m o r e than g r ac e ful r e
cit e rs o f th e G i o tt e sq u e f o rmulas a n d y e t w e r e n o t g r e at
g en ius e s G i otti n o (1 3 2 4 ? I 3 5 7 ? ) was a supp o se d imitat o r o f
.
—

G i o tt o o f wh o m littl e is k n o w n
,
H e is id e n tifi e d by s o m e
.

wit h T ommaso di S t e fa n o T h e wo r k attribut e d to h im sh o ws

.
 ITAL IA N I
PA N T N G I 63

fin e d e corativ e q uality but c ssity i n c o mpl e t e e xpr e s

,
of ne e ,

si on O r c agn a (I 3 O 8 P 1 3 6 8) gat h e r e d u p an d un it e d in h im
.
—

s e lf all th e ar t t e achi n gs of his tim e I n wo r ki n g o u t pr o bl ems

.

of fo r m an d in d e licacy a n d c h a r m of e xpr e ssi on h e w en t

b e y o n d his p r e d e c e ss o rs H e was a man y S id e d g e n ius v e r s e d
.
-
,

n o t o nl y i n a matt e r of n atu r al app e a r a n c e but in c o lo r ,

p robl ems in p e r sp e ctiv e shad ows an d lig h t His c o lo r

, , ,
.

a l on e giv e s him ra n k fo r its l umi n o us an d h a r m on i o u s q u al

.
/
iti e s A S for hi s f e e l i n g it was m O I e r e fin e d t h a n G i o tt o s ’

a n d hi s i n di vid u ality w a s almost as p r on oun c e d th o ug h

m o r e d e licat e A pai n t e r o f ni u ch pu r ity a n d charm h e
.

was furth e r al on g t owa r d t h e R en aissa n c e t h an an y o t h e r

o f t h e G i o tt e squ e s . H e alm o st cha n g e d t h e charact e r of
pai n ti n g a n d y e t di d n o t liv e n e a r e n o ugh to t h e fif t e e n t h
,

c en tu ry t o accomplish it c ompl e t e ly S pin e ll o A r e ti n o (1 33 3 ?

.

was th e last o f th e w e ll k n o wn G iott o f oll ow e r s H e

-
.

ca rr i e d o u t th e t e achin gs of th e sch oo l i n t e chn ical f e atu r e s ,

s u ch as c omp o siti on drawin g an d r e li e f by col o r r at h e r t h an

, ,

by light c o mbi n i n g s om e thin g of S i en e s e d e c o rati on wit h

,

Fl o r e n tin e r obust n e ss ; but h e lack e d t h e cr e ativ e p o w e r

o f G i o tt o I n fact n on e o f t h e G i o tt e squ e s sav e possibly
.
, ,

O r cagn a c a n b e said to h av e impr o v e d up on th e mast e r tak

, ,

i n g hi m as a wh o l e T o ward t h e b e gi n n in g o f th e fift e e n th
.

c en tu r y th e scho o l r ath e r d e clin e d wi t h th e w o rk o f such

in diff e r e n t f oll ow er s as N i col o di Pi e r o G e ri n i a n d N a r d o di
Ci on e .

I
S E NE S E S CH O O L "art t e ac hin gs a n d traditi o n s o f
Th e
th e past s e e m e d d eep e r r o ot e d at S i e n a tha n at Fl o r e n c e .

N o r was t h e r e so much att empt t o shak e t h e m off as at

Fl o r e n c e . G i o tt o b r ok e th e imm obil ity o f t h e B y z a n ti n e
m o d e l by sh owin g th e d r ap e d fig u r e in actio n S o als o did .

t h e S i e n e s e with D ucci o a n d th e L o r e n ze tti but t h e r a n k a n d ,

file p e rhaps ca r e d m o r e f o r t h e e xp r e ssi on o f t h e spiritua l

, ,

t h an th e b e auty o f th e n atu r a l T h e Fl o r e n ti n e s w e r e robust

.
,
64 I
H S TO R Y I
O F PA N T N G I
r e s olut e e v e n a littl e c o a r s e at tim e s ; t h e S i e n e s e w e re m o r e
,

r efi n e d a n d s en tim en tal T h e i r fa n cy r an t o swe e t n e ss of

.

fac e rath e r than to b o dily vig o r A gai n th e ir art was ric h e r .

,

i n costum e c o l o r a n d d e tail tha n Flo r e n ti n e a r t m o r e o r n at e

, , ,

i n gildi n g t oo li n g br o cad e s a r ab e sq u e s surfac e s ; but it w as

, , , ,

also m o r e fin ical an d n a rr ow i n S cop e S till this g en e ral dis .

FI G . 28 .
— S P LL
INE O A RE TIN O . ST . B E NE D I CT A ND TO TI A L . S . MI NI A TO , FL O RE N C E .

ti n cti o n is subj e ct t o n um e r ous e xc eptio n s a n d m u st b e

acc ept e d wit h cautio n .

D u cci o (c 1 2 8 2 1 3 . t h e r e a l fou n d e r of t h e S i e n e s e
—

sc h ool r e tai n e d By z an ti n e m e thods a n d adopt e d th e schoo l

,

subj e cts but h e p e rf e ct e d d e tails o f f o rm suc h as th e h a n ds

, ,

a n d f e e t a n d w h il e r e tai n i n g t h e lo n g By z a n ti n e fac e gav e it

, ,

a m e l an choly t e n d e r n e ss o f e xp r e ssi on His l i n e w a s n o t .

o n l y grac e ful but e xpr e ssiv e e v e n w h e n n o t p r e cis e l y c o rr e ct ;

,

h is col o r w as e xc el l en t i n body an d b re adt h ; a n d his co n ti n u e d

 I TA LIA N I
PA N T N G I 65

u se of go l d in th e gr o un d a n d i n th e h ig h l ights was h ighl y

o r n am e n ta l I n c o mp o siti o n gr o u pi n g a n d a f e e li n g fo r spac e
.
, ,

h e was at tim e s quit e u p t o h is Fl o r e n t i n e c o n t e mp o r ary

, , ,

G i o tt o wh il e b e in g m o r e p oe tic m o r e myst e ri o u s
, ,
H e had .

n o t G i o tt o s dramatic f o rc e b u t i n its plac e a r e fi n e d s e n ti

’

m e n t of much cha r m S im on e M ar tini (1 2 8 5 P 1 344 ) c h an g ed

.
—

t h e typ e c on sid e r ably by r o u n di n g t h e f o rm His drawi n g .

w as n o t a l ways tr u e but i n c o l o r h e was bril lia n t a n d i n d e tail

,

e xact a n d mi n u t e H e was m o r e m o d e r n tha n D ucci o usi n g

.
.

t h e tra di ti on al typ e s but g r aftin g up on t h e m k e e n O bs e rvati on

o f n at u r e a n d givi n g th e m at tim e s passi o n at e acti o n Us u ally .

h e is impr e ssiv e i n dig n ity as in hi s G uid o R icci o da Foglia n o

at S i e n a W hil e r e tai n in g t h e traditi on a l d e c o rativ e quality
.

o f t h e S i e n e s e h e was i n his n atur e studi e s q u it e abr e ast o f

t h e Flor e n ti n e s A ll t o ld h e was th e m o st imp o rta n t o f t h e

.

imm e diat e f o ll ow e rs o f D ucci o L ipp o M e mm i (P .

was his pupil an d assistan t a n d B a rn a (c 1 3 6 9 1 3 8 0) wit h "

.
—

Tr ai ni (c 1 3 5 0) w e r e his f o llow e r s
. .

T h e S i e n e s e w h o cam e th e n e a r e st t o G iott o s e xc e ll en c e
’

w e r e th e b r o th e rs A m b r ogi o ( c 1 3 2 3 1 34 8 ) a n d Pi e tr o (c 1 33 5
.
—
.

1 3 4 8 ) L or e n z e tti T h e y w e r e pr obably i n flu e n c e d by G i o tt o
.

f or th e y t oo k up fr e sc o w o rk o f vast e xt e n t n a r rativ e i n ,

styl e with man y fig u r e s balan c e d c omp o siti on an d n at ur alistic

, ,

e ff e cts It lack e d in c ompact n e ss a n d c on cis e n e ss but h ad

.

in v en ti o n an d n o t a littl e p ow e r about it T h e y g r e atly im .

pr ov e d th e tradi ti on a l t yp e an d in suc h fig u r e s as A mb rogi o s ’

w h it e r ob e d Pe ac e at S i en a p re sag e d th e R en aissa n c e Bot h

-
.

br o th e rs w e r e m en o f mark e d i n di viduality an d o rigi n ality .

T h e ir pa n e l pictur e s als o sp e ak f o r th e i r t e n d e r n e ss of
s e n tim en t an d th e ir d e c o rativ e s en s e .

B a rt ol o di M a e s tr o Fr e d i (1 3 30 1 4 1 0) was p r obably —

a p upil o f L ipp o M e mm i t h o ugh i n flu e n c e d by t h e L o r e n

z e tt i ; A n d r e a V a n n i (1
333 w a s a f o llow e r of B a r t o l o
in flu en c e d by S im on e M a r t in i a n d th e L o r e n ze tti ; an d Ta d d e o
66 I
H S TO R Y O F PA N T N G I I
di B ar t ol o (c ). was
1 3 a
6 2 pupi
—
l1o f4 B
2 a
2 r t o lo T h e y a ll .

carri e d o n th e S i e n e s e t r aditio n o f o r n am e n tal workma n sh ip

d e c o r ativ e patt e r n maki n g in f o rm a n d c ol o r T add e o w a s
-
.

a m a n o f much i n flu e n c e i n S i e n a an d thr o ugh o ut Umbria .

It is p o ssibl e that h e i n fl u e n c e d S a s s e tt a (S t e fa n o d i G i ovan ni )

( 39
1 2 1
—
45 )
0 o n e o f t h e lat e S i e n e s e but o n e o f t h e p u r e st a n d
pr o fo u n d e st i n f e e li n g th e m o st i n t e n se i n passi on o f th e m all
, ,
.

H e h ad a myst i c F ra n cisca n ima g i n ati o n a n d w a s fo r S i e n a

what Fr a A n g e lic o w a s fo r Fl o r e n c e i n t h e matt e r o f r e ligi o u s
f er vor W ith al l t h is h e w as by n o m e a n s bli n d to n at ur e o r
.

FI G . 29 .
-
S I MONE M A RTI N I . GU DI O RI CC I O DA F GL
O I A NO . P L ZZ P UBBL
A A O I CO , S I E NA .

th e d e c o r ativ e b e auty o f art His pa n e l pict u r e s hav e a .

n aiv e charm a l o v e li n e ss of f o rm a n d c o l o r as w e ll as o f f e e li n g
, ,

that a re m o st att r activ e H e w as th e last o f t h e e cstatic .

S i e n e s e th o u gh with him a n d aft e r him cam e s o m e pai n t e r s

o f ability carryi n g o n S i e n e s e traditi o n s far i n t o t h e R e n ais

sa n c e T h e s e lat e m e n w e r e
. e mi c o d i B a r to l o (1 4 00
L o r e n zo V e c c hi e tta S a n o d i Pi e tr o

(1 4 0 6 1 4 8 1 ) B e n v e n u to d i G i ova n n i (1 4 3 6
—
,
M a tt e o d i
G i ova n n i (1 4 3 5 F ra n c e sc o di G i o r g i o (1 4 39
N e r o c ci o d iL an d i (1 4 4 7 l
TRA N S I TI O N PA I N TE R S " Se e v ral pai n t e r s ,
S t a m in a
G e n ti l e d a F a b r i a n o l
(1 35 4 (1 3 6 0 Fra A n g e i co

(1 3 8 7 —
hav e b e e n put d ow n i n s om e art hist o ri e s a s
1 45
th e mak e rs o f th e t r a n sitio n fr o m G othic to R en aissa n c e
 ITA LIA N I
PA NT N G I 67

pain ti n g Th ey h a r dly d e s e r v e th e tit l e Th e r e was n o

. .

t r an sition T h e d e v e l opm e n t w e n t on a n d t h e s e pai n t e r s

.
, ,

c omin g l at e in th e fou r t e en t h c en tu r y an d l ivi n g i n to th e fif

FI G .
30 .
— L Z
O RE N E TTI . PE A C E D
( E TA I L ) P L ZZ P UB BL
. A A O I CO , S IE NA .

t e en th ,imply sh ow e d th e c h a n gi n g sty l e th e adva n c e in th e

S ,

study of n atur e a n d th e t e ch n iq u e o f a r t S tar n in a s w o rk .

’

w e k n o w v e ry l itt l e about It was p ro bably n o s u ch w o rk as

.
68 I
H ST O R Y O F PA N T N G I I
M as ol i n o s o r M a sa ccio th oug h p ossibly
’ ’
s f or esh a dow mg
that o f M as oli n o .

There is always a littl e o f th e past in th e p r e s e n t a n d b o th ,

G e n t il e a n d F1 a A n g e lic o show e d trac e s o f th e G ot h ic a g e i n

d e tails o f th e fac e a n d fig u r e i n c o l o rin g i n g o ld e mb o ssi n g
, , ,

i n d e c o rat i v e f ee l i n g a n d r e ligi o u s f e rv o r G e n t il e had all .

that n ic e ty o f fi n ish a d r ich n e ss of d e ta il a n d c o l o r charac

h
t e r i st i c o f t h e S i e n e s e B e i n g cl o s e r t o t h e R e n aissa n c e tha n
.

h i s pr e d e c e ss o rs h e w a s mor e of a n at u r e st u d e n t
r

H e w as .

practically t h e first m an t o S h o w th e eff e ct o f su n light i n

la n ds c ap e th e first o n e to p u t a g old su n in th e sky H i s
,
.

i n flu e n c e in th e ma it e r o f backgr o u n d la n dscap e al o n e is
mark e d fo r b e f o r e 1 4 2 0 h e w a s w o rk i n g i n Ve n ic e b e cam e ,

th e r e t h e mast e r o f J ac op o B elli n i a n d w as p o ssibly r e sp on ,

sibl e i n larg e d e gr e e for th e fin e la n dscap e backgr o u n ds of

G e n til e B e ll in i a n d C a rpa cc i o H e n e v e r h ow e v e r o u tgr e w
.
, ,

G o thic m e th o ds as r e gards th e fig u r e a n d r e ally b e l o n g s ,

i n th e f o u rt e e n th c e n tury T his is tr u e o f Fra A n ge lic o

. . .

T h o u gh h e liv e d far i n t o t h e E arly R e n a i ssa n c e h e d i d n o t

cha n g e h is styl e a n d ma nn e r o f work in c o n fo rmity with t h e
w o rk o f o th e rs ab o ut him H e w a s o n e o f th e last i n h e rit o rs
.

o f t h e G o th i c traditi o n s H e w a s b e hi n d G i o tt o a n d L ore n
.

z e tt i i n p ow e r a n d i n imagi n ati o n a n d b e hi n d O r c ag n a as a ,

pai n t e r a n d a c o l o rist H e k n e w l i ttl e o f light shad e p e r

.
, ,

sp e c t i v e ,
a n d i n c h aract e ri z ati on was f e e bl e e xc e pt i n som e ,

lat e w o rk O n e fac e o r typ e a n sw e r e d h im fo r all class e s o f

.

p eopl e a sw e e t fair fac e f u ll o f divi n e t e n d e r n e ss His

—
, ,
.

art had e n o u gh n atur e i n it to e xpr e ss his m e a n i n gs a n d is

at tim e s c harmi ng in its n aiv e utt e ra nc e s its simpl e ar r a n g e ,

m e n t its fin e d e c o rativ e q u ality its pu r e spir i t H e was

, ,
.

pr eemi n e n tl y a d e v o u t pai n t e r .

E XTA N T W O RK S " a y f t h p i tu r s f t h G t h i p ri
M n o e c e o e o c e od

p
a re O en to do u b t as r g a r d s t h i r a ttr i b u t i
e s I t was t
e g on . no an a e of

pr u
ono nced in d i v i d ua l i t y i i t h r sp i ri t
n e m th d s T h s tr
e or e o . e o ng
 C H A PT E R V I

I TA LI A N I
PA N TI N G

E A R L Y RE N A I S S A N C E . 1 4 00
—
1 5 0 0

BO O K S R E C O MMEN D E D " A s b e f o r e , Be r e n s on , B r o w n a n d
R a n ki n , B u rckhardt , C row e a n d C a v a lc a se lle , E astlak e ,
Fr i z zo n i , L a f e n e s t r e , L a n zi , M o r e lli , Ricci , R um o hr , S tillma n ,
Vasari ; also C artwright , P a i n ter s of Flor en ce; C r o w e a n d C a
v a lc a se lle , H i stor y of P a i n ti n g i n N or th I taly; C r u t tw e ll,
P olla i u olo; Ve r r occh i o; D avi e s , G h i r la n dajo, Ff o ulk e s a n d
"

M aj o c chi , Vi n cen zo F oppa of B r esci a ; G ardn e r , F er r a r ese S ch ool

of P a i n ti n g; G o ffi n , P i n tu rr i cch i o; H o r n e , B otti celli ; M u n dle r ,

E ssa i d u n e A n alyse cr i ti qu e de la N oti ce des ta blea u x I ta li en s

’

o u L ou vre ; Patch , L ife of M a sa cci o; R icci , P i n tu r r i cchi o;

R icht e r , I ta li a n A r t i n N a ti on a l Ga ller y, L on don ; R i d olfi, L e
M er a vi gli e dell A r te; R o s i n i , S tor i a della P i ttu ra I ta li a n a ;
’

S c h n a ase , Gesch i ch te der bi lden den K u u ste; S ym o n ds , Ren a i s

s a n ce i n I ta ly; T o e sca , M a s oli n o da P a n i ca le; U l ma n n , B otti celli ,

Visch e r , L u ca s S i gn or elli u n d di e I ta li en i sch e Ren a i ssa n ce;

W e isbach , Fr a n cesco P eselli n o; W illiamso n , Fr a nci a .

TH E I TA LIA N M IND " T he re

is n o way o f e xplai n i n g th e
Italia n tr e n d toward f o r m a n d col o r o th e r tha n by c o n sid e r i n g
t h e n e c e ssiti e s o f t h e p eopl e a n d t h e artistic trai n i n g o f t h e
Italia n mi n d A r t i n all its phas e s was n o t o n ly a n ad o r n m e n t
.

but a n e c e ssity o f C h ristia n civili zati on T h e C hurc h ta u ght.

p eop l e by sc u lptu r e m o saic an d f r e s c o q u it e as much as by

, ,

mass a n d h omily It was a n obj e ct t e ac h i n g a graspi n g o f

.
-
,

id e as by f o rms s e e n in th e mi n d n o t a pr e s e n ti ng o f abstract
,

id e as as i n lit e rat u r e Pri n ti n g w as n o t k n o w n T h e r e w e r e

. .

f e w ma n u scr ipts a n d th e maj o rity o f p eo pl e c o u ld n o t r e ad

,
.

Id e as Cam e t o th e m fo r c e n turi e s thr o u g h form a n d c o lo r ,

 ITAL IA N I
PA N T N G I 7 I

thr oug h pictu r e p ro c e ssi on a n d pag e an t un til at last th e

, , ,

Italian min d t oo k o n a plastic a n d pict o rial c h aract e r It .

c on c e iv e d id e as i n symbo l ic fig u r e s a n d wh e n th e R e n aissa n c e ,

cam e an d a r t took th e l e ad as on e o f its st r on g e st e xp r e ssio n s ,

pa in tin g was but th e colo r th o ugh t an d f o r m lan guag e o f th e - -

p e opl e .

A n d t h e s e p e opl e by r e as o n o f t h e i r p e c ul ia r e ducatio n
, ,

w er e in th e mai n an exacti n g p eopl e kn owin g w h at was go o d

, , ,

FI G .
3I .
— MA S A CCI O . TH E TRI BU TE MO N E Y . C A RMI N E , FL O RE N C E .

an d d e man di n g it f r o m th e a r tists E v er y i n t e l l ig e n t Italian .

was i n a w ay an a r t critic b e cause e v e ry c h urc h in Italy

, , ,

was an art schoo l T h e a r tists may h av e le d th e p e op l e but

. ,

t h e p e opl e spur r e d o n t h e artists a n d so t h e Ita l ia n mi n d w e n t ,

o n d e v e l o pi n g a n d u n f o ld in g u n ti l at last it p r oduc e d t h e g r e at

a r t o f th e R en aissa n c e .

TH E A W AKE N IN G " T h e Ita l ia n civi l i zatio n of t h e f o u r

t ee n th c e n tu r y was mad e up of ma n y impuls e s a n d i n cli n a

7 2 H STO R I Y I
O F PA NT N G I
tio n s n o n e of t h e m at first v e ry str o n gly d e fi n e d Th e r e was
,
.

a f e e li n g ab o u t a gr opi n g t o ward th e n e w light b u t th e l e ad e r s

, ,

st um bl e d o ft e n o n t h e r o ad T h e r e w a s g oo d r e aso n for it
. .

T h e k n owl e dg e o f th e o ld world lay b u ri e d u n d e r t h e rui n s

o f Ro m e . Th e Italia n s had t o l e ar n it all o v e r agai n alm o st ,

with out a p r e c e d e n t alm o st with o ut a pr e c e pt o r T h e n ew

, . .

w o rld O f sci e n c e art n at u r e a n d lif e th e y had o n ly r e c e n tly

, , ,

d i sc o v e r e d a n d w e r e just b e gi n n i n g t o e xpl o r e T his was a .

sl o w pr o c e e di n g Bu t with th e fift e e n th c e n tury th e h o r i zon

.

b e ga n to bri gh t en T h e E a r ly R e n aissa n c e w a s b e gun It

. .

w a s n o t a r e v o lt a r e acti o n o r a starti n g o u t o n a n e w path

, ,
.

It was in fact a d e v e l opm e n t of th e G o thic p e ri o d ; a n d th e i n

l
c in a t io n s o f t e G o thic p e ri d
h o —
p r imarily th e d e sir e for
classic k n ow l e dg e a n d th e study o f n at u r e w e r e carri e d
,
—

i n t o th e art o f th e tim e wit h g r e at e r i n t ell ig e n c e a n d mor e

e ff e ctiv e craftsma n ship .

T h e i n f e r e n c e must n o t h o w e v e r b e draw n that b e caus e

, ,

n atur e a n d t h e a n tiq u e cam e t o b e studi e d i n E arly R e n ais

sa n c e tim e s that th e r e f o r e r e ligio n was discard e d It was n o t . .

It still h e ld str on g an d though wit h th e R e n aissa n c e t h e r e

,

cam e ab o ut a stra n g e mi n gli n g of crim e a n d c o rrupti on ,

aesth e t ic ism a n d immorality y e t t h e C h u rch w a s n e v e r ,

aba n d o n e d fo r a n h o ur W h e n e n light e n m e n t cam e p e o pl e

.
,

b e ga n to d o ubt th e spiritual p ow e r o f t h e Papacy T h e y .

did n o t cri n g e t o if S O s e r vil e ly as b e for e R e l igi on was .

n o t p e rf e r vidly e mbrac e d as i n t h e M idd l e A g e s but th e r e ,

w as n o r e v o lt . T h e C h u rc h h e ld th e p o w e r a n d w a s still t h e
patr o n o f art Th e pai n t e r s subj e cts e xt e n d e d O v e r n atur e
.
’
,

t h e a n ti qu e t h e fabl e all e g o ry h i st o ry p o rtraitur e ; but t h e

, , , ,

r e ligi o us subj e ct w a s n o t n eg l e ct e d Fully thr e e q u art e r s o f .

-

all th e fifte e n t h c e n tury pai n ti n g w as d o n e fo r th e C hurch

-
,

at h e r c o mma n d a n d fo r h e r p u rp o s e s
,
.

Bu t a r t was no t so wh o lly pi e tistic as i n t h e G o thic ag e .

Th e study of n atu r e a n d th e a n tiqu e mate r iali ze d pai n ti n g

 I TA LIA N I
PA NT N G I 3

som e wh at T h e o u tsid e w o rld dr e w th e pai n t e r s e y e s a n d

.
’

t h e b e auty o f t h e r e ligi o u s su b je c t a n d its s e n tim e n t wit h ,

F ra n cisca n m e m o ri e s w e r e s o m e what dimm e d by t h e b e auty

,

of n at u ra l app e ara n c e s T h e r e was so m e l o ss o f e m o ti o n a l

.

p ow e r b u t t h e e m o ti o n o f th e ag e had muc h t o l o s e I n
,
.

t h e fift e e n th c e n t u ry it w as st il l st r o n g .

K N O W L E D G E O F TH E
ANT I Q UE A N D NA TURE "

Th e vival o f a n tiqu e
re

l e ar n i n g h uman ism
cam e about in r e al e a rn
e st d ur i n g this E a r l y
R e n aissa n c e p e r i o d T h e .

sc h o la r s se t t h e ms e l v e s
t h e task o f r e st o ri n g th e
p o lit e l e a r n in g o f a n ci e n t
G reece study in g coin s
,

an d marbl e s c o l l e ctin g ,

man uscripts f o un din g

,

lib r ari e s an d sch oo l s o f

phil o so phy T h e w e alt h y
.

n obl e s such p e o pl e as
t h e A lbi zzi t h e M e dici , ,

a n d t h eD uk e s o f Urbin o

—
e n co u r a g e d I n 1 44 0
it
FI G P LL J U L P
32 O A O O O RTRA I T
P LD P ZZ L U U M L
. . . .

M M,
.
O I- E O I SE I AN .

Greek was taught in fiv e

citi e s Imm e diat e ly aft e rward wit h C on sta n ti n opl e falli n g
.
,

i n t o th e ha n ds o f th e T u rks cam e a n i n fl u x o f G r e e k ,

sch ol ars i n t o Italy b e a r i n g som e furth e r s c h o lastic m e ssag e .

T h e n f o ll ow e d t h e i n v e n ti o n o f pri n ti n g a n d t h e a g e o f dis
c o v e r y o n l a n d a n d se a N o t t h e a n tiqu e al o n e but th e
‘

n atura l w e r e b e i n g pri e d i n t o by th e spirit o f i n q u iry .

Bo ta n y g e o l ogy ast r on omy ch e mi stry m e dici n e a n at omy

, , , , , ,

law l it e ratu r e n ot h i n g s e e m e d to e scap e th e k e e n e y e o f

—
’

,
74 I
H STO R Y I
O F PA N T N G I
th e tim e K n owl edg e w a s b e i n g acc u mul at e d fr om e v e ry
.

so urc e a n d th e a r ts w e r e a ll assimilati n g it if n o t di r e ctly

,

r efl e cti n g it .

T h e i n flu e n c e o f th e n ewly disc o v e r e d classic marbl e s up o n

pai n ti n g was p e rhaps n o t so g re at as is u s u ally s u pp o se d .

T h e pai n t e rs studi e d th e m but d i d n o t cl o s e ly f o ll o w o r imitat e

,

th e m O ccasi on ally i n s u ch m e n as Bo ttic e lli a n d M a n t e g n a

.

w e se e a f o llowi n g o f sculptur e squ e e xampl e a taki n g o f

—

d e tails an d e v e n o f wh o l e fig u r e s b u t th e m o r e g e n e ra l
—

e ff e ct o f t h e a n tiq u e marbl e s was t o impr e ss th e pai n t e rs with

t h e id e a that n at u r e w a s at t h e bott o m o f it all T h ey t u r n ed .

t o t h e e arth n o t o n ly t o st u dy f o r m a n d f e at u r e t o fin d c o n ,

firm a t io n of t h e G r e e k V i e w a n d t o disc o v e r a n ew o n e o f t h e i r
o w n ; b u t t o l e ar n ab o u t p e rsp e ct i v e light shad o w c o l o r
, , ,

i n sh o rt th e t e ch n ica l f e at ur e s o f art
,
T r u e r e l igi o n w a s th e
.
,

chi e f subj e ct b u t n atur e was us e d to giv e it s e tti n g A ll th e

, .

fift e e n th c e n t u ry pai n ti n g sh o ws n at u r e st u dy f o rc e charact e r

-
, , ,

si n c e rity ; b u t it d o e s n o t S h ow e l e ga n c e grac e o r th e f ul l , ,

c ompl e m e n t o f skill T h e work is fra n k t ru thf u l f o rc e f ul ;

.
, ,

but n aiv e in its awkward n e ss its h arsh n e ss at tim e s its cr u d e

, ,

n e ss . Fo r aft e r all th e E arl y R e n aissa n c e w as t h e promis e

, ,

o f gr e at thi n gs ; t h e Hi g h R e n aissa n c e w a s t h e f u lfilm e n t .

FRE S C O A N D PA N E L " T h e chi e f w o rk at this tim e was

do n e in fr e sc o o n t h e wal l s o f c h ap e l s c h urc h e s Cloist e rs a n d

, , , ,

occasi o n ally mu n icipal buil di n gs T h e archit e ct u ral spac e s

,
.

t o b e fill e d dictat e d t h e styl e o f c o mp o siti o n a n d y e t l e ft

ab u n da n t fr e e d om to th e artist i n its t r e atm e n t I n pa n e l .

pict u r e s a n d altar pi e c e s t e mp e ra w a s u s e d Pai n ti n g i n o il

-
.

w a s k n ow n pr obably e arly i n t h e R e n aissa n c e b u t n o t e xt e n

siv e ly e mpl o y e d u n ti l th e last q u art e r o f t h e fift e e n th c e n tu r y .

FL O R E N TI N E S C H O O L " I n t e ch n i cal k n o wl e dg e a n d i n

t e lle c tu al grasp t h e Fl o r e n ti n e s w e r e t h e l e ad e rs It has b e e n .

said that th ey w e r e draftsm e n rath e r t h a n c o l o rists whic h

is m e asurably tr u e th o ugh th e i r s e n s e o f c o l o r was n o t wa n ti n g
 ITA LI A N I
PA NT N G I 5

wh en di st r ibut e d i n flat fi e l ds or plan e s M a s olin o (1 3 84 .

was o n e o f th e fi r st t o tak e u p n atur e d e cisiv e ly on e

o f th e fi r st t o study fr o m th e n u d e huma n figu r e as his B a
p ,

t i sm at C astigli on e d O lo n a t e stifi e s H e sh o ws n at u r e study

’
.

a l so in p o r t r ait h e ads in dr ap e ri e s i n la n dscap e H e was

, ,
.

FI G .
33 . B
- O TTI CE LL I . S P G (D
RI N E TAI L) . A CA D Y FL
EM ,
O RE N C E .

a r emarkab l e pain t e r an d d o ubt l e ss h a n d e d o n a st ro n g n atur e

i mp ul s e t o h is pupil M asacci o A t a n y r at e M a s a c ci b (1 4 0 1
.

1 4 2 8 ) b e cam e t h e first g r e at n at ur e stu d e n t M e at

Fl o r e n c e
. H e c o n ti n u e d t h e G i o tt o traditio n i n his grasp of
n atu r e as a w h o l e his mast e ry o f fo r m h is plastic c omp o si
, ,

ti on h is f r e e br o ad f o lds o f drap e ry I n g ro upi n g in lig h t

, .
, ,

p e rsp e ctiv e an d l an dscap e h e gr e atly adva n c e d th e k n ow l e dg e

, ,
7 6 I
H S TO R Y I
O F PA NT N G I
of th e tim e T houg h a n e xact stud e n t h e was n o t a m e re su r
.

fac e r e alist H e had a larg e artistic s e n s e a b r e adt h o f vi e w

.
, ,

a n d a c o mpr e h e n sio n o f n at ur e as a mass t h at M icha e l A n g e lo

a n d R apha e l did n o t disdai n t o f o ll o w H e w a s l i ttl e o f a

.

pi e tist a n d th e r e was n o g r e at r e ligi o u s f e e li n g i n his w o rk

, .

D ig n ifie d tr u thf u l app e ara n c e was his cr e e d a n d i n this h e ,

was d o u btl e ss i n flu e n c e d by D o n at e ll o th e sc u lpt o r .

T h e r ob u st f o rm t h e str o n g charact e ri z atio n t h e larg e

, ,

vi e w o f n at u r e sh o w n by D o n at e ll o in sc u lptur e had a v e ry
p o t e n t i n fl u e n c e u p on ma n y o f th e Fl o r e n ti n e pai n t e rs C om .

b i n e d wit h t h e e xampl e o f M asacci o it gav e a d e c id e d stamp

t o e arly Fl o r e n ti n e art T h e sturdy r e alism t h e viril e drawi n g
.
,

of A n d r e a d e l C a s tag n o (1 3 9 6 P 1 4 5 th e sci e n t ifi c p e rsp e ctiv e

—

a n d r e alistic fig u r e s o f Pa o l o U cc e ll o (1 3 9 7 1 4 7 t h e p o sitiv e
—

p r ofil e s o f D om e ni co V e n e zi an o (1 4 00 t h e st u dy o f t h e
n ud e ,
t h e good m o d e lli n g t h e fin e m o v e m e n t o f A n t on i o
,

Poll a ju o l o (1 4 2 9 1 4 9 8 ) a n d h is br o th e r assista n t Pi e r o (1 44 3
— -

1 496) may b e trac e d alm o st dir e ctly to th e D o n at e llo

M asacci o i n flu en c e .C o n t e mp o rary with th e s e m e n w e r e
ot h e r pai n t e rs w h o h e sitat e d o v e r th e n ew id e al t oo k u p ,

n atur e st u dy wit h i n d e cisi o n or p e r h aps cl u n g f o n dly t o t h e

,

gold e mb o sse d o r n am e n t a n d gild e d hal o s o f th e past B e n ozzo

-
.

G o zz oli (1 4 2 0 1 4 9 7 ) p e rhaps b e l o n gs j u st h e r e
—
His A do r a .

t io n o f t h e M agi i n th e R i ccardi palac e Fl o r e n ce is t h e m o st

, ,

brillia n tly t o ld st o ry i n all Fl o r e n ti n e art with its fin e typ e s , ,

s u p e rb h o rs e s gay trappi n gs a n d e xc e ll e n t la n dscap e ; B a l d o

, ,

vi n e tti (1 4 2 5 1 4 9 9 ) with m u ch charm o f c o lo r a n d s e n s e o f

’

spac e in la n dscap e n e v e rth e l e ss had muc h o f th e past i n his

c o n c e ptio n s a n d m e t h o ds ; a n d e v e n Fr a Fi lipp q L ippi (1 4 06
1 4 6 9 ) th o ugh f o ll o wi n g M asacci o t o s o m e e xt e n t w as larg e ly

i n flu e n c e d by th e G o thic traditi on i n th e h a n ds o f L o r e n zo
M o n ac o a n d Fr a A n g e lic o S till Fr a Filipp o h e lp e d t o m o d
.
,

e r n i z e Italia n art a n d mak e it i n timat e whil e still r e tain i n g

r e ligi ou s s e n tim e n t a n d path e tic typ e s H e l e ft a pupil of

.
7 8 I
H STO R Y O F PA NT N G I I
ability His o utli n e w a s a r bitrary d e riv e d t hro ug h th e
.
,

G i o tt e sq u e fr o m By z a n ti n e art a n d n o t always tru e to n atur e

,

o r th e m o d e l b u t g rac e ful to th e last d egr e e a n d b e autiful

,

pu re ly as li n e His d e corativ e s e n s e was hig h ly d e v e l op e d an d

.
,

his maki n g o f th e patt e r n as sh o w n i n h is A l l eg o ry of S pri n g

s om e th in g marv e ll o u s T h e sam e pict u r e sp e aks fo r h is
.

c o l o r i n sti n ct a n d his A d o rati on o f t h e M agi i n th e Ufli zi

,

pr o claims him fo r his tim e a m o st c omp e t e n t br u shma n

, , .

U n f o rt u n at e ly h e had ma n y f o ll ow e rs a n d imitat o rs a n d ma n y
o f th e i r w o rks a r e still attribut e d t o B o tt i c e lli Am i co di .

S a n d r o is n o t a pai n t e r but a n am e i n v e n t e d by M r B e r e n s o n .
,

t o carry a d oz e n o r m o r e pict u r e s i n E ur op e a n gall e ri e s ,

e vid e n tly pai n t e d by o n e pai n t e r a n d h e a f o ll o w e r of B otti

c e lli J a c op o d e l S e llajo (I 44 I P 1 4 9 6 ) a n d B otti ci ni (1 44 6

.
—

1 4 9 8 ) w e r e e cl e ctics i n th e Fl o r e n ti n e sc h o o l a n d f o ll o w e d

at di ff e r e n t tim e s s e v e ral o f th e m o r e pr o mi n e n t l e ad e rs
i n c lu di n g Bo ttic e lli a n d Ve rr o cchi o .

V e rr oc c h i o (1 4 3 5 1 4 8 8 ) was a pupil o f D o n at e l l o a n d was

—

m o r e o f a sc u lpt o r tha n a pai n t e r but h e ta u ght t h e tr u t h o f

,

D o n at e ll o t o n u m e r o u s p u pils am o n g th e m L eo n a r d o da
,

Vi n ci a n d h ad a mark e d i n fl u e n c e i n Fl o r e n c e
,
His o n e .

a u th e n tic p i ctur e o f th e B aptism at Fl o r e n c e sh ows th e sc u lp

t o r e v e n t h e g o ldsmith i n figur e s a n d f o liag e but it als o
, , ,

discl o s e s a n ew vis io n o f la n dscap e pr e sagi n g that o f L e o n ard o .

T h e latt e r as a y o ut h pr o bably work e d o n this pict u r e a n d

may h av e pai n t e d i n th e l a n dscap e a s w e l l as th e l itt l e a n g e l
at th e l e ft .

L o r e n zo di C r e di (1 4 5 6 t h o ug h a l at e Fl or e n ti n e
a n d a p u pil o f Ve r r o cchi o n e v e r o u tg r e w t h e fift e e n th c e n tury
,
.

H e w a s a pai n t e r with m u c h purity o f f e e li n g but w e ak at

, ,

tim e s His drawi n g w a s fair l y g o o d b u t l ack e d f o rc e T h e r e

.
,
.

is m u ch d e ta il st u dy a n d c o n sid e r abl e grac e abo u t his work

, ,

b u t l i ttl e o f str e n gth Pi e r o di C o sim o (1 4 3 9 1 5 0 7) was

.
—

s om ew h at fa n tastic i n c o mpositi on pl e asa n t i n c ol o r a n d , ,

 I TA LI A N PA NT N GI I 79

r at h e r disti n guish e d i n l an dscap e backg r oun ds H e was .

i n flu e n c e d by Ve rr o cc h i o but was a di r e ct pupil o f C os i m o

R os s e lli (1 4 3 9 1 5 0 7) — o n e o f th e p r o ductiv e pai n t e rs o f
—

Fl o r e n c e but n o t on e of th e e p o c h maki n g mast e rs o f th e t i m e

-
.

D om e ni co G h i r l an d a i 1 4 4 9 1 4 9 4 ) was a l so som e w h at i n
—
”
M N

FI G 35
— M E L ozzo D A F L OR I PL Y G A IN AN GL
E

Y P
. . . .

S A C RI S T OF ST . E TE R S , R O ME .

flu e n ce d by Ve rr o cc h i o
but h e t oo k imp ul s e s f r o m ma n y
s o u r c e s an d was m o r e e c l e ctic than origin al H e prod u c e d .

a n e xc e ll e n t quality o f acad e mic a r t H e c o mbi n e d th e art .

l e ar n in g of h is tim e d r e w w e ll h a n dl e d drap e ry broadly an d

, ,

simply comp o s e d e ff e ctiv e ly an d was fairly g ood in c o l o r ;

, ,

b u t wit h a ll hi s r obust t emp e r am en t an d dig n ifi e d styl e h e

p r oduc e d litt l e t h at was o r igin a l o r vita l Ye t h e was a n .
80 HI S TO R Y O F PA N T N G I I
imp o rta n t t e ac h e r a n d a mast e r o f i n flu e n c e i n spit e o f h avi n g
n o disti n cti o n a n d at tim e s b e i n g d e adly pr o saic
, ,
M ai n ar di .

(1 4 5 0 1 5 1 3 ) was a br o th e r i n law of G hirla n daj o a n d his

— - -

som e what s e r vil e foll ow e r .

UM BRI AN S C H O O L S " Umb r ia is a g e o g r ap h ica l catc h all -

for t h e s e v e r al sch oo ls o f Fo lig n o Pe rug i a G u bbi o a n d th e

, , ,

M arch e s A t t h e b e gi n n i n g o f th e fift e e n t h c e n tury t h e O ld

.

S i e n e s e sch oo l f o u n d e d by D u cci o a n d th e L o r e n z e tti was i n

a stat e o f d e cl i n e It h ad b e en r e ma r kabl e fo r s e n tim e n t
.
,

a n d j u st what e ff e ct this s e n tim e n t of th e o ld S i e n e s e sch oo l

h ad up on th e pai n t e rs o f th e n e ighb o ri n g Umbria n scho o ls

o f t h e e arly fift e e n th c e n t u ry is matt e r o f sp e c u lati o n with

hist o ria n s It m u st h av e had som e tho ug h th e e arly pai n t e rs

.
, ,

lik e O ttavi an o N e lli (c 1 4 00 . do n o t S h o w it T hat .

whic h aft e rward b e cam e k n ow n as th e Umbria n s e n tim e n t

p o ssibly first app e a r e d i n th e w o rk o f N i c colO d a F o li g n o
(I 4 3O P I 5 0 2 ) a pai n t e r o f e m o ti o n al f e e li n g a n d passi o n at e
—

f o rc e H e w as pr o bably a p u p i l o f Be n o zzo G o zzo li w h o

.
,

w a s i n t u r n a p u pil o f Fr a A n g e lic o
,
-
,
T h at w o u ld i n dicat e
.

Fl o r e n ti n e i n fl u e n c e but th e r e w e r e ma n y i n flu e n c e s at w o rk
,

i n this u pp e r vall e y c o u n try

-
S e n tim e n t had b e e n pr e val e n t
.

e n o u gh all thr o ug h C e n tral Italia n pai n ti n g d ur i n g t h e G o thic

age
—
m o r e so at S i e n a tha n e ls e wh e r e W it h th e R e n ais .

sa n c e Fl o r e n c e rath e r fo rs ook s e n tim e n t fo r pr e cisi on o f fo rms

a n d e q u il i bri u m o f gro u ps ; b u t t h e Umb r ia n t o w n s b e ing ,

m o r e pr o vi n cial h e ld fast to t h e i r faith t h e i r d e tail a n d th e i r

, , ,

g o ld o r n am e n tati o n T h e ir i n fl u e n c e up o n Fl o r e n c e was
.

slight b u t th e i n fl u e n c e o f Fl o r e n c e u p o n th e m was co n sid

,

c rabl e S o m e Fl o r e n t i n e s such as B e n o zzo w e n t i n t o t h e

.
, ,

Umbria n c o u n try a n d ta u ght th e r e but o ft e n e r th e larg e r

city dr e w th e pr o vi n cials its w ay t o l e a r n th e n e w m e th o ds .

Th e r e sult w a s a group of Umb r o Fl or e n ti n e pai n t e rs -

,

c ombi n i ng som e up c o un t r y s e n tim en t wit h Fl o r e n ti n e t e c h

-

a ue .
82 I
H S TO R Y I
O F PA N T N G I
st r e n gt h i n l i n e pr o d u ci n g at hl e tic sq u a r e sh o u ld e r e d figu r e s
, ,
-

i n viol e n t acti o n with c o mplicat e d f o r e sh o rt e n i n gs quit e asto n

,

i shi n g .Th e m o st dari n g m a n o f h is tim e h e was a mast e r i n ,

a n atomy c o mpositi o n m o v e m en t T h e r e was n o thi n g s el e ct

, ,
.

ab o u t h is typ e an d n othi n g suav e ab o ut his pai n ti n g His

, .

co l o r was h o t a n d c o ars e his lights l u rid his sh ad o ws brick, ,

r e d h is t e xt u r e s l e ath e ry
,
H e was h o w e v e r a mast e r dr afts
.
, ,
-

m an a n d a m a n o f larg e c on c epti o n s a n d gr e at str e n gt h

,
Me .

lozzo d a Fo rl i (1 4 3 8 1 4 9 4 ) was a n o t h e r pupi l o f Pi e r o a n d a

—

pa in t e r o f muc h f o rc e His typ e s ar e larg e his drawi n g sup e rb

.
, ,

his s e n s e o f spac e e xc e ll e n t H e was a spirit e d pa in t e r r isi n g

.

at tim e s to g r a n d e ur i n his simplicity o f f o r m an d dig n ity o f

c omp o siti o n G i ovan ni S an ti (1 44 0 ?
. t h e fat h e r o f
R ap h a e l a n d M a r c o Pa lm e zzan o (1 4 5 6
,
w ere b o th
pupil s o f M elozzo .

T h e tru e d e sc e n t O f th e Umbria n s e n tim e n t was p r obab l y

t hro u g h Folig n o Bon figli a n d Fi o r e n zo di L or e n zo t o Pe ru gi n o
, ,

(1 4 4 6 S ig n o r e lli a n d Pe rugi n o s e e m opp o s e d t o e ac h

ot h e r i n th e i r a r t T h e first was th e f o r e ru nn e r of M ich el
.

a n g elo th e s e c on d was appa r e n t i n R ap h a e l ; a n d th e d iff e r

,

e n c e b e tw e e n M ich e l a n g e lo a n d R ap h a e l was i n a l e ss va r i e d ,

d egr e e t h e di ff e r e n c e b e tw e e n S ig n o r e ll i a n d Pe r u gi n o T h e
,
.

o n e S h o w e d str o n g Fl o r e n ti n e li n e t h e o th e r Umb r ia n s e n ti ,

m e n t a n d c o l o r It is i n Pe ru gi n o t h at w e fin d th e old Go thi c
.

f e e li n g Fe rv or t e n d e r n e ss a n d d ev o ti on with soft e y e s
.
, , , ,

d e licat e f e at u r e s an d path e tic l o oks cha r act e r i ze his a r t

,
.

T h e figur e is sl ight grac e f ul a n d i n pos e s e n tim e n tally i n c l i n e d

, ,

t o o n e sid e T h e h e ad is almost aff e ct e d l y plac e d o n th e

.

sh o ul d e rs a n d th e r ou n d o liv e fac e is full of wistf u l t e n d e r n e ss

,
.

T his Pe rugi n o typ e us e d i n all his pai n ti n gs is summari z e d

, ,

by T ai n e as a b o dy b e lo n gi n g t o th e R e n aissa n c e c o n tai n ing

“

a so ul t h at b e l o n g e d t o th e M iddl e A g e s T h e r e was n o .
”

dramatic fire a n d f ur y ab o u t Pe r u gi n o His c omp o sitio n was .

simpl e with grac e f ul fig ur e s i n r ep o s e a n d t h is was comp l e

,
 I TA LIA N I
PA NT N G I 83

by S imp l e backg ro un d la n dscap e s T h e co l orin g was

m en t e d .

r ich an d th e r e w e re b r ill ian t eff e cts O b tai n e d by th e u se of

,

o il s
. H e was am on g th e fi r st o f h is sc h oo l t o u se t h at m e di u m .

His fri en d a n d f e ll ow w o r k e r Pi n tu ri c chi o (1 4 5 4

-
di d ,

n o t as a rul e u se oils but was a sup e r i o r pain t e r in fr e sco

, , , .

FI G 37
— P U
IN T RI CCH I O D PUIS TE O F ST CA TH E RI N E D
( E TAI L)
B G P V
. . . . .

OR IA A A RTME N TS . A TI CA N , R O ME .

In t h is m e dium h e pai n t e d s e v e r a l mo n um e n ta l s e ri e s at
R o m e a n d S i e n a giv in g t h e walls g r e at spl e n d o r o f c o lo r a n d
,

gil di n g as in th e Bo rgia apartm e n ts i n th e Vatica n I n typ e

, .

a n d s e n tim e n t h e was much lik e Pe ru gi n o i n compositio n a ,

l ittl e e xtravagan t at tim e s in l a n dscap e backg rou n ds quit e ,

o r igin a l an d in v en tiv e H e was a v e ry wi nn i n g an d g r aci o us

.
84 H S TO RI Y O F PA NT N G I I
pai n t e r n o t mor e f o rc e ful t h a n Pe rugi n o t h o ug h m o r e va r i e d
, ,

a n d m o r e i n t e r e sti n g a m a n with a h ig h ly d e v e l o p e d d e c o r a
tiv e s e n s e w e ll suppl e m e n t e d by skill Pe rugi n o s b e st pupil s .
’

asid e fr o m R apha e l w e r e L o S p ag n a (c 1 5 00
, wh o .

f o ll o w e d h is mast e r s styl e u n til th e High R e n aissa n c e wh en

’
,

h e b e cam e a f o ll o w e r o f R apha e l a n d E u s e b i o d i S an G i or g i o
,

(c 1 4 9 2
. a n e c l e ctic o f s o m e abil ity .

S C H O O L S O F FE RRA RA A N D BO L O G N A " T h e pai n t e rs o f

Fe rrara i n th e fift e e n t h c e n t u ry s e e m e d t o h av e r e li e d up o n
, ,

Pad u a f or th e i r t e achi n g T h e y h o w e v e r s oo n d e v e l op e d
.
, ,

o rigi n ality o f th e i r o w n a n d h ad a d e cid e d i n fl u e n c e upo n

t h e R o ma g n o E milia n pai n t e rs
-
T h e b e st o f t h e e arly m e n
.

was C o si m o T u ra (c 1 4 3 0 . w h o s h ow e d t h e Pad u a n
i n flu e n c e o f S qu a r ci o n e i n a n at o mica l i n sist e n c e s c o ars e j o i n ts , ,

i n fi n it e d e ta il a n d s om e tim e s fa n tastic o r n am e n tati o n ; b u t

,

h e was a pai n t e r o f dist i n ct si n c e rity , i n t e n sity a n d forc e ,

.

His pow e r is at tim e s tragic h is drawi n g sc u lptu r e squ e a n d

,

a l m o st c l assical h is c o l o r d e ep r e s o n a n t s u p e rb H e was
, , ,
.

pr obably th e f o un d e r o f th e sch oo l a n d F r a n c e s c o C o s s a
( C. 1 4 35
—
1 4 8 0 ) w as o n e o f h is p u pils r e pr o duci n g his mast e r s
,
’

typ e s wit h a sm oo t h e r a n d l e ss p o sitiv e b ru sh E r c o l e R ob e r ti .

(c 1 4 30 1 4 9 6 ) w a s a n oth e r p u pil o f T ur a a n gula r i n drawi n g

.
-

, ,

o d d i n pr o p o rtio n s fin e i n c o l o r
,
a d e cid e d i n divid u a l fo rc e .

E r c o l e di Gi u l i o C e s ar e G r a n di (c 1 4 6 4 1 5 3 5 ) a n d F r an c e sc o
.
—

Bi a n chi F e rr a r i (1 4 5 7
-
pupils O f E rc o l e R ob e rti w er e ,

l at e r a n d S l ig ht e r man ife stati on s o f Fe r ra re s e m e th o ds .

It s e e ms that C o ssa aft e r a tim e r e m o v e d fr o m Fe r r a r a to

Bo l o g n a a n d p e rh aps h is pup il L o r e n zo C o s ta (1 4 6 0
,

w e n t wit h h im A t a n y rat e C o sta b e cam e t h e h e ad o f th e

.

B ol o g n e s e S ch o o l A t first h e w a s a pai n t e r o f c o n sid e r abl e

.

f o rc e wit h g ood c o l o r an d q u it e o rigi n al typ e s ; b u t h e was

aft e rward t e mp e r e d by S o u th e r n i n fl u e n c e s to so ft n e ss an d
s e n tim e n t T his was th e r e s u lt o f Padua n m e t h o ds m e e ti n g
.

at Bol og n a wit h Umb r ia n s e n tim e n t Th e Pe r ugia n typ e an d .

86 I
H S TO R Y O F PA NT N G I I
Fr a n cia and C osta , we re
r u gi n o an d Pi n turicc h i o o f th e
t h e Pe
Bo l og n e s e scho o l a n d t h e most importa n t pai n t e r s i n that
,

sc h oo l T h e r e w e r e a n umb e r o f p upil s th e b e st o f w h om was

.

Ti m ot e o Vi ti (1 4 6 7 1 5 2 4 ) w h o fi n ally f u s e d Bo l o g n e s e a n d Um
—

b r ia n s en tim en t an d h e lp e d f o r m th e e ar l y styl e o f R apha e l .

TH E L O M BAR D S C H O O L " T h e d e sig n ati o n o f t h e L o m

ba r d sc h oo l is r ath e r a vagu e o n e i n th e h ist o r y o f pai n ti n g ,

a n d is us e d by h ist o ria n s t o c o v e r a n u mb e r o f is o lat e d sch oo ls

o r m e n i n t h e L o mbardy r e gi o n I n t h e fift e e n t h c e n tury .

t h e se sch oo ls c o u n t e d fo r littl e e ith e r in m e n o r i n w o rks .

T h e pri n cipal activity w a s ab o ut M il a n w h ich dr e w pai n t e rs ,

f ro m B r e scia Vi n c e n z a a n d e ls e wh e r e to f o r m what is k n own

, ,

as th e M ilan e se sch oo l Vi n c e n zo FO ppa (c 1 4 2 7 . .

o f B r e scia a n d aft e rward at M il a n w a s pr o bably t h e fo u n d e r

, ,

o f this M ila n e s e sch oo l His pai n tin g is o f rath e r a h arsh

.
,

e xacti n g n atu r e ; his f o rm is w oo d e n o r rath e r sc ul pt u ral ,

p o i n tin g t o th e i n fl u e n c e o f Pad u a at which plac e h e p e rhaps ,

g o t h is e arly art trai n i n g H e was i n flu e n c e d fr

. o m s e v e ra l
so u rc e s b u t always main tai n e d a r u gge d v i tali ty o f his ow n .

B o r g og n on e (1 4 5 0 1 5 2 3 ) is se t d o w n as h is p u pil a pai n t e r o f
—
,

muc h s e n tim en t fin e d e c o rativ e se n se e xc e ll e n t c o l o r an d v e r y

, , ,

g oo d w o rkma n sh ip His c o l o r an d his g o ld w o rk a r e d e cid e dly

.

attractiv e O t h e r p u pils o f Fo ppa w e r e Ci ve r ch i o (c 1 4 70

. .

1 5 4 4 ) a n d Z e n a l e (1 4 3 6 B r am an ti n o (c 1 4 6 0 1 5 2 9 ) .
—

was u n d e r th e sp e ll o f FO ppa an d B raman t e T h e sch o ol was .

aft e rwa r d g r e atly i n fl u e n c e d by th e e xamp l e o f L e o n a r do da

Vi n ci as w ill app e ar furth e r o n
,
.

E XTA N T W O RK S " F li s t s f pa i t r s w rks d t h i r l a

or o n e
’
o an e oc

ti f ll w B r s
on o o Br we en on , d Ra ki od Cr w n d Can l n n, an o e an
‘

a va

c as ll as b f r i t d a t d f C h ap t r V G ra lly sp ak i g t h
e e e o e c e en o e . ene e n e

c h i f w r ks
e f tho Fl r t i
o s U m b ri a s F
e o en B l g
ne ,
s n ,
e r ra re s e , o o ne e,

d L m b ard s s till t b f u d i t h mus ums d h ur h s i ‘

an o a re o e o n n e e an c c e n

t h a t t w w h r a h r sp ti v s h l was
o n e e e c e tr d F p p
ec e d c oo ce n e . O a an

B rg g
o o f i sta
non e , s or b st s
n a t M i l a as C s t a d Fr a i a
n ce ,
a re e een n o an nc

a t B l g a d P r ug i a t P r u g i a
o o n an e no e .
 C H A PT E R VI I

I TA L I A N PA I N TI N G

E A R L Y RE N A I S S A N CE ,
1 4 00
—
1 5 00 . C O N TI N U E D
B O O K S RE C O MM E N DE D " T h o s e o n Ita l ia n a r t b e f o r e m e n
ti on e d ; als o c on sul t t h e G e n e ra l B ibl i ograp h y , B o s c h i n i , L a
C a r ta del N a vegar ; C r u t tw e ll, A n dr e a AI a n tegn a; Fr y , Gi ova nn i
B elli n i ; G r on au , I B elli n i ; Di e Qu ellen d er B i ogr aph i e des
A n ton ello da M essi n a ; Hil l , P i san ello; K ri st e lle r , A nd rea
M a ntegn a ; L u dwig an d M olm e n ti , C a r pa cci o, M ar z o , Di
A n ton ella da M essi n a e dei su oi conji u n ti , M olm e n ti , L a Pi ttu r a
Ven ezi a n o ; R ushf o rth , C r i velli , T e sti , S tor i a della P i ttu r a
"

Ven ezi an o ; Ve n turi , L e O r i gi n i della Pi ttu r a Ven ezi a n o .

PA D UA N S CH O O L " It was at Padua in th e n ort h that th e

i n flu e n c e o f classic scu l pt u r e mad e its e lf str on gly appar e n t .

Umbria r e main e d tr u e t o th e r e ligi o u s s e n tim e n t Fl o r e n c e ,

e n gag e d its e lf larg e ly with n at ur e study a n d t e c h n ica l p r o bl e ms ,

i n tr o d u ci n g h e r e a n d th e r e d r ap e ri e s an d p o s e s t h at sh o w e d
kn o wl e dg e of scul p tural eff e cts but at Pad u a much o f th e
,

c l assic in drap e ry fig u r e s an d archit e ct ur e s e e ms t o hav e

, ,

b e en tak en di r e ct l y f r o m th e r e di sc ov e r e d a n tiqu e o r th e
m o d e r n b r on z e.

T h e e a r ly m en o f th e sc h o o l w e r e h ardl y g r e at e n o ug h to
ca ll for m o r e t h an passi n g n o tic e " D u r in g th e f o u r t e e n t h
c en tury th e r e was so m e G i o tt o in fl u en c e f e lt t h at pai n t e r
h avin g b e en at Padua w o r ki n g in th e A r e n a C hap el It .

S h o ws i n G u ar i e n to (c . 1 3 6 5 ) w h o was ab o u t t h e o n ly e a rl y

pain t e r o f an y imp o r tan c e L at e r on th e r e was a sl ig h t in

.

flue n ce f r om G en til e da F ab r ia n o a n d A lt ich i er i of Ve r on a .

88 H S TO R I Y O F PA NT N G I I
Bu t th e s e i n flu e n c e s s e e m to hav e d ie d o u t a n d th e r e al d ir e c
ti on o f t h e scho o l i n th e e arly fift e e n th c e n t u ry w a s g iv e n by
F r a n c e s c o S q u a r ci on e (1 3 9 4 H e was a n e n light e n e d
m a n a st u d e n t a c o ll e ct o r a n d a n a d mir e r o f a n ci e n t sc u lpt u r e
, , ,

a n d th o ugh n o gr e at pai n t e r h ims e lf h e taught a n a n at o mi c al

statu e sq u e a r t bas e d on R o ma n marbl e s a n d Flor e n ti n e

,

n atur e as s e e n i n D o n at e ll o a n d h is sc h o o l t o ma n y p u p i ls ,
.

S qu a r c io n e s w o rk has p e rish e d e xc e pt fo r a M ad o n n a at
’

Be rli n but his t e achi n g w as r e fl e ct e d i n t h e w o rk o f his gr e at

,

p u p il A n d r e a M an t e g n a (1 4 3 1 Ye t M a n t e g n a n e v e r
r e c e iv e d th e f ul l c ompl e m en t o f his k n owl e dg e fr o m S qu a r ci on e .

H e was o f a n o bs e rvi n g n at u r e a n d p r o bably stud i e d G i o tt o ,

Pa o l o Ucc e ll o a n d Fr a Fil ipp o s o m e o f wh o s e works w e r e

, ,

th e n i n Pad u a n e d ific e s H e pr o bably gai n e d col o r k n owl e dg e

.

fr om th e Ve n e t i a n Be lli n i w h o l iv e d at Pad u a at o n e tim e an d

,

w h o w e r e c o n n e ct e d with M a n t e g n a by marriag e M o re ov e r .
,

h e liv e d i n a u n iv e rsity t o w n a n d was pr obably s c h oo l e d i n

its l e ar n i n g Bu t th e sc u lpt u r e sq u e S id e o f h is art cam e from
.

S qu a r c i o n e fr o m a st u dy o f t h e a n tiq u e a n d fr o m a d e ep e r
, ,

study o f D o n at e ll o wh o s e br o n ze s to t h is day are t o b e s e e n

,

w i thi n a n d with o u t th e Padua n D u o m o o f S A n t o n i o . .

Th e sc u lpt u r e sq u e is charact e ristic o f M a n t eg n a s w o rk

’
.

His p e opl e a r e hard rigid at tim e s imm o vabl e h uman b e i n gs

, , ,

n o t so m u ch t u r n e d t o st o n e as t u r n e d t o br o n z e t h e b r o nze
o f D o n at e ll o T h e r e is n o t t o o m u ch s e n s e of motio n ab o ut
.

th e m T h e drawi n g is sha r p an d harsh th e dr ap e ry e v i

.
, ,

d e n tly st u di e d f r o m sculpt u r e is li n e y a n d th e arch a e o l o gy

“ ”
, ,

is o ft e n m o r e sci e n tific tha n a r tistic M a n t e g n a was n o t .

,

h o w e v e r e n tir e ly d e v o t e d t o th e sc u lptur e squ e H e was

,
.

o n e o f t h e s e v e r e st n atur e st u d e n ts o f t h e E arly R e n aissa n c e ,

k n e w ab o u t n at u r e a n d carri e d it out i n e xacti n g d e tail in his

,

art I n additi o n h e was a mast e r o f light an d S had e u n d e r

.
- -
,

st o o d c ompositi o n spac e atm o sp h e r e patt e r n a n d was as

, , , ,

sci e n tific in p e rsp e ctiv e as Pi e ro d ell a F ra n c e sca T h e r e is .

90 H S TO RI Y I
O F PA NT N G I
and e xacti n g d e tail H e was p o ssibly i n flu en c e d by C osim o
.

T u ra a n d i n tu r n i n flu e n c e d s o m e w h at t h e Bol o g n e s e sc h o o l
, .

M a n t e g n a h ow e v e r w a s th e str o n g e st o f t h e sch o o l a n d h is
, , ,

i n flu e n c e was fa r r e ac h i n g H e sway e d th e sch ool o f Ve n ic e

-
.

i n matt e rs o f d r awi n g b e sid e i n fl u e n ci n g t h e L ombard a n d

,

Ve r o n e s e sch o o ls i n th e ir b e gi n n i n gs .

S CH O O L S OF VE R O NA A ND VI C E N Z A " A rtistically
Ve r o n a b e l o n gs with th e Ve n e tia n pr o vi n c e s a n d w a s larg e ly ,

i n fl u e n c e d by Ve n ic e e xc ept at th e v e ry start T h e e a r li e st .

pai n t e r th e r e was p e rhaps A lti ch i e r i (fl 1 3 30

, , wh ose .

ru i n e d fr e sc o s in S A n astas i a Ve r on a still S h ow fin e i n divid

.
, ,

ual h e ads a n d s om e wh at c o n fus e d patt e r n s H e h ad a n .

i n d iff e r e n t f o ll ow e r i n J ac op o A r a n zi a n d a v e ry str o n g on e i n
Vi tto r e Pi s an o (1 3 8 5 1 4 5 —
cal l e d Pisa n e ll o w h o was th e ,

e a rl i e st pai n t e r o f n o t e H e was n o t h ow e v e r disti n ctly

.
, ,

Ve r o n e s e i n his art H e was m e dallist a n d pai n t e r b o t h

.
,

w o rk e d wit h G e n til e da Fabrian o i n th e D u cal Palac e at

Ve n ic e a n d e l s e wh e r e a n d h is a r t s e e ms t o h av e a n a ff i n ity
,

with that o f h is c ompa n i on Bu t h e must n o t b e t h o u ght a

.

m e r e f o ll ow e r o f an y o n e H e had disti n ct i n dividuality a n d

.
,

pr o n o u n c e d f o rc e whil e i n flat d e c o rativ e d e sig n h e was a

,

mast e r E v e n th e small p o rtrait o f G i n e v r a d E ste i n th e

.
’

L o u vr e shows h is d e c o rativ e s e n s e M o r e o v e r h e was th e

.
,

gr e at m e dallist o f Italy a n artist of u n c o mm o n g en ius

—
.

A ft e r Pisa n e ll o a n d s o m e what i n his styl e cam e S te f a n o d a

Z evi o (1 3 9 3 ? 1 4 5 1 ) a pai n t e r of s om e ability
—
.

I n t h e fift e e n th c e n t u ry th e i n flu e n c e s at Ve r o n a w e r e v e ry
muc h c o n fuse d Ve n ic e a n d Padua w e r e d omi n a n t c en tr e s
.

a n d t h e i r vi e ws o f art had w e ight wit h t h e provin cia l s Bu t .

Ve ro n a still h e ld fast t o s o m e thi n g o f Pisa n e ll o s t e achi n g a n d

’

was n o t a m e r e e c h o o f o t h e rs T h is sh ows i n Li b e r al e d a
.

V e r on a (1 4 5 1 1 5 3 6 ) w h o w a s at first a mi n iaturist but aft e r

—
,

ward d e v e l op e d a l arg e r styl e bas e d o n a fo l l owi n g o f M an

t egua s wo r k wit h som e Ve n e tia n i n flu e n c e s sh owin g i n th e
’
,
 ITA LI A N I
PA N T N G I 91

col o r in g an d backg r o u n ds Ye t h e still h e ld to a d e c o r ativ e

.

s en se p e c ul ia r to Ve r on a Fr an c e s c o B on si g n ori (1 4 5 3
1 5 1 9 ) was o f th e Ve r o n a sc h oo l b u t u n d e r th e M a n t e g n a i n
,

flu e n ce His styl e at first was rath e r s e v e r e an d in dicat e d

.

so m e Ven e tian t e ac h i n g H e d e v e lop e d m u c h abil ity in p or

.

FI G .
40 .
— L Z
O RE N O VE N E ZI A N O . ANN U
N CI A TI O N . A CA D Y V
EM , E N I CE .

t r a i tu r e , an dwas a pai n t e r c on sid e rabl e str e n gth D o

of .

m e ni c o M or on e (c 1 44 2 a f o ll ow e r o f L ib e r a l e his
.
,

son ,
Fr an c e s c o M o r on e (1 4 74 ? G i r o l am o d ai L ib ri
(1 4 74 1 5 4 6 ) w e r e o th e r pai n t e rs i n th e sc h ool r e v e ali n g l o ca l
—

p e cul ia r iti e s wit h Ve n e tian f e at u r e s S h owi n g h e r e an d th e r e .

Fr an c e sc o C ar oto (1 4 7 0 a pupil o f L ib e r al e r e ally ,

b el o n gs t o th e n e xt c e n tury th e High R e n aissa n c e His —

.
92 I
H S TO R Y I
O F PA NT N G I
e arly works S h ow his e d u cati o n i n Ve r o n e s e a n d Pad u a n
m e t h o ds as his lat e r w o rks th e i n fl u e n c e o f High R e n aissa n c e
pai n t e rs s u c h as R apha e l .

I n t h e sch oo l o f Vic e n za th e o n l y mast e r o f muc h n o t e

i n this E arly R e n aissa n c e t i m e w a s its f o u n d e r B a rt ol omm e o ,

M o n tag n a (1 4 5 0 a pai n t e r o f m u ch s e v e rity a n d at

tim e s gra n d e ur o f styl e H e was a pupil o r f o llow e r o f A lvis e
.

Viv a r i n i a n d was p o ssibly i n fl u e n c e d by G e n t il e B e lli n i He .

is u sually c o n sid e r e d as b e l o n gi n g to th e Ve n e tia n scho o l .

VE N E TIA N LIFE A N D A RT " T h e co n ditio n s o f art p ro

ducti o n i n Ve n ic e duri n g th e E arly R e n aissa n c e w e r e q u i t e
d iff e r e n t fr o m th o s e in Fl o r e n c e or Umbria By th e disp o si
.

tion o f h e r p e opl e Ve n ic e w a s n o t a l e a r n e d or d e v o ut city .

R e ligi o n t h o ug h th e chi e f s u bj e ct w as n o t t h e chi e f spirit

, ,

o f Ve n e tia n art . C hristia n ity was acc ept e d by th e Ve n e tia n s ,

but with n o f e v e r e d e n th u siasm T h e C hurch was str o n g

.

e n o u g h t h e r e t o d e fy t h e Papacy at o n e tim e a n d y e t r e li g io n
,

wit h th e p eopl e was p e rhaps mor e of a civic f u n ct io n o r a

d u ty t h a n a spirit u al w o rship It was si n c e r e i n its way
.
,

a n d t h e e arly pain t e rs pai n t e d r e ligi o us th e m e s for a n d at t h e

c omma n d o f th e C hur c h wit h h o n e sty but th e Ve n e tia n s w e r e

,

much too pr o u d a n d w o rldly mi n d e d t o tak e a n yt h i n g v e ry

s e ri ousl ye xc e pt th e i r ow n spl e n d o r an d th e ir ow n p ow e r .

A gai n th e Ve n e tia n s w e r e n o t hu ma n ists o r stud e n ts of

,

t h e r e viv e d classic . T h e y h o us e d ma n uscripts h a rbo r e d ,

e xil e d h u ma n ists ,
r e c e iv e d th e i n fl u x of G re e k sch o lars aft e r
t h e fal l o f C o n sta n ti n opl e a n d lat e r t h e c e l e brat e d A ldi n e
,

pr e ss w a s e stablish e d i n Ve n ic e ; but fo r all t h at classic

, ,

l e ar n i ng w a s n o t th e fa n cy o f th e Ve n e tia n s T h ey mad e n o.

quarr e l o v e r th e r e lativ e m e rits o f Plat o a n d A rist o tl e dug up ,

n o classic marbl e s had n o r e vival o f l e ar n i n g i n a F l o r e n ti n e

,

s e n s e T h e y w e r e m e rch a n t pri n c e s wi n n in g w e alth by com

.
,

m e rc e a n d exp e n di n g it lavishly i n b e a u tifyi n g t h e ir isla n d

h om e N o t t o attai n g r e at l e ar n i n g b u t t o r e v e l in gr e at
.
,
94 I
H S TO R Y O F PA NT N G I I
ki ngd o m was th e se a h er live lih oo d comm e rc e a n d trad e
, ,

th e br e a th o f h e r n o strils .

Th e w o rldl y spirit o f t h e Ve n e tia n p eo p l e br o ug h t ab o ut a

w o r l dly a n d l u x u ri o u s art N o t h i n g in th e disp o siti on or e d u
.

catio n o f th e Ven e tia n s cal l e d fo r th e s e v e r e o r th e i n t e ll e ctual .

T h e d e ma n d was for ric h d e c o rati o n that w o u ld pl e as e t h e

s e n s e s with o u t stim ul ati n g t h e i n t e ll e ct o r firi n g th e imagi n a
ti on to an y gr e at e xt e n t L i n e a n d fo rm w e r e n o t so w e l l
.

suit e d t o th e m as c o l o r th e m o st s e n s u o u s o f all m e diums .

C o l o r pr e vail e d thr o u g h Ve n e tia n art fr o m th e v e ry b e gi n n i n g ,

a n d was its disti n ctiv e c h aract e ristic .

W h e r e this l o v e o f c o l o r cam e fr o m is matt e r o f sp e c ul a

tio n T h e m o st r ati o n al c o n t e n ti o n is that Ve n ic e in its c o l o r
.

is an e xc e ll e n t e xampl e o f t h e e ff e ct o f c omm e rc e o n art S h e .

was a trad e r with th e E ast fr o m h e r i n fa n cy n o t C o n sta n

t i n op le a n d th e By z a n ti n e E ast al o n e but back o f th e s e th e ,

o ld M o hamm e da n E ast w h ic h for a th o usa n d y e ars has cast

,

its art i n c o l o rs rath e r tha n in f o rms I t was E ast e rn or n a .

m en t in m o saics st uff s p o rc e lai n s vari e gat e d marbl e s br o u ght

, , , ,

by S h ip to Ve n ic e a n d l o cat e d i n S M arc o at M ur a n o a n d at
.
, ,

T o r c ell o that first gav e t h e c o l o r impuls e t o th e Ve n e tia n s

,
-
.

If Fl o r e n c e was th e h e i r o f Ro m e a n d its a u st e r e classicism ,

Ve n ic e w as th e h e i r o f C o n sta n ti n opl e a n d its col o r cha r m -

.

T h e t w o g r e at c o l o r sp o ts i n Italy at this day a r e Ve n ic e a n d

R av e n n a c o mm e rcial f o o t h o lds o f th e By z a n ti n e s i n M e di ae va l
,

days It may b e r e aso n ably c o n clud e d t h at Ve n ic e d e riv e d

.

h e r c ol o r s e n s e a n d muc h o f h e r l uxuri o us a n d mat e rial vi e w

-

o f lif e fr o m t h e E ast .

TH E E AR LY VE N E TIA N PA IN TE R S " Pai n ti n g at Ve n ic e

i n th e f o urt e e n t h c e n tury b e ga n wit h th e fabricati o n o f m o saics

a n d o r n am e n ta l altar pi e c e s o f r ic h go l d stucco w o rk
-
Th e -
.

G r e e k ma n n e r that is th e By za n ti n e was practise d

“ ” - —
,

e ar l y i n t h e fift e e n t h c e n tury wit h v e r y d e co r ativ e r e sul ts .

S om e n am e s a n d som e w o rks o f th e e a r ly m e n su rviv e at

 I TA LIA N I
PA NT N G I 95

Ve n ic e . D on a to , C a t e r i n a , S e mi t e c olo , L o r e n zo V e n e zi an o
a r e a ll ma r k e d by go o d c o l o r a n d ric h garm e n ti ng wit h m u c h
g ol d w o r k Ja cob e ll o d e l Fi or e (c 1 4 00 1 4 3 9 ) wit h his gild e d
. .
—

stucc o G i am b on o (c 1 4 2 0 1 4 6 0) wit h h is fin e s e n tim en t a n d

,
.
—

c o l o r a n d N e g r op on te a M u ra n e se pain t e r a r e th e b e st o f
, , ,

th e v e r y e a r ly m e n Bu t t h e i r i n crust e d B y z a n ti n e styl e
.

did n ot last l o n g I n st e ad o f l in g e rin g for a hu n dr e d y e ars

.
,

as at Fl o r e n c e it di e d a ,

n atural d e ath i n t h e first

h alf of th e fift e e n t h c e n
tury G e n til e da F abri
.

a n o w h o was at Ve n ic e
,
,

b e f o r e 1 4 2 0 pai n ti n g i n ,

t h e D u ca l Palac e wit h
Pisa n e ll o as h is assista n t ,

may hav e b r o ught this

ab o u t H e taught th e r e
.

i n Ve n ic e was t h e mast e r
,

o f J ac o p o B e lli n i a n d if ,

n o t t h e t e ac h e r th e n t h e

i n flu e n ce r of th e Viv a r in i
at M ur a n o T h e r e w e r e .

tw o of th e Vi v a r i n i i n t h e
early tim e s so far as ca n ,
H C A ND 0mm
b e mad e o u t A n ton i o
'

Vi var in i 4 7 0) wh o
—
1

w o r k e d wit h J oh an n e s Al e m an n u s (fl 1 44 3 a pai n t e r .

o f supp o s e d G e r ma n birt h a n d t r ai n i n g a n d B ar to l o mm e o ,

Vi var i ni (fl 1 4 5 0 .a y o un g e r br o t h e r o f A n t o n io T h ey .

a ll sig n e d t h e ms e l v e s fr o m M ura n o (a n o ut l yi n g Ve n e tia n

isla n d) w h e r e t h e y w e r e pr o duci n g ch u rc h alta r pi e c e s with
,
-

som e Pad u a n i n flu e n c e sh o wi n g i n th e i r pai n t e d pa n e ls .

T h e y w e r e e xc e ll e n t c r aftsm e n a n d pr o d u c e d work r ic h i n
c o lo r a n d h ig hl y d e c o r ativ e in gold work T h e y mad e up th e .
96 I
H S TO R Y O F PAI N T N G I
M u ra n e s e sc h o o l th o u gh this sc h o o l was n o t str o n gly ma r k e d
,

apart e ith e r in c h aract e ristics o r s u bj e cts fr o m th e Ve n e tia n

sch o o l o f whic h it w a s in fact a part
, , ,
.

Bart o l o mm e o was t h e b e st o f t h e gr o u p a pai n t e r w h o ,

sh o ws th e i n flu e n ce o f Pad u a i n h is statu e squ e f o rms a n d

“
li n e y drap e ry b u t also p o sse ss e s m u c h c o l o r S p l e n d o r
,
-
,

f o rc e f u l charact e ri zati on a n d m e n tal d ig n ity A l vi s e Vi va

, .

rini (fl 1 4 6 1. a n ep h e w o f Bart o l omm e o was t h e l at e st ,

o f this family a n d a rival o f G i o va n n i B e lli n i at Ve n ic e

, He .

w as n o t h o w e v e r so str o n g a pai n t e r as B e lli n i t h o u g h p os

, ,

s e ss e d o f k e e n a r tistic f e e li n g a n d m u ch t e ch n ical skil l His .

p o rtraits S h ow h im to adva n tag e a n d som e o f his alta r pi e c e s -

a r e e xc e ll e n t th o ug h lacki n g t h e ful l r e gist e r o f Ve n e tia n

c o l o r H e w a s l i k e B e lli n i a fam o us t e ach e r a n d th e mast e r

.
, ,

o f ma n y pupils W ith his d e ath th e hist o ry o f th e M u r a n e s e

.

m e rg e s i n t o th e Ve n e tia n sch o o l p rop e r e xc ept as it co n ti n u e s

,

t o app e ar i n s om e o f t h e p u pils a n d f o llow e r s O f th e l att e r

'

C arl o C r i v e lli (I 44 O P w a s t h e o n ly o n e o f muc h mark .

H e appar e n tly gath e r e d his art fr o m ma n y s o ur c e s o rn a

—

m e n t an d c o l o r fr o m th e Viv a ri n i a l e a n a n d wit h e r e d typ e

,

fr o m th e e arly Padua n s u n d e r S qu a r c ion e archit e ctu r e fr o m ,

M a n t eg n a a n d a rath e r r e p u lsiv e s e n tim e n t fr o m th e sam e

,

sch o o l His fac e s w e r e O ft e n c o n tort e d an d s ul ky his ha n ds

.
,

a n d f e e t stri n gy his drawi n g rath e r hars h ; but h is s e n s e o f

,

f o rm w a s M a n te g n e squ e h is d e c o r ativ e s e n s e s o m e thi n g

,

w o n d e rf u l a n d h is trag ic p o w e r c o n vi n ci n g a n d comp e l l i n g
,
.

N o E arly R e n aissa n c e pai n t e r at Ve n ic e w e n t b e yo n d h im

i n e xc e ll e n c e o f w o rkma n ship i n o r n am e n ta l r ob e s a r ab e s q u e s
, , ,

gildi n g ; a n d n o Ve n e tia n o f his tim e q u it e e q u all e d h im i n

brillia n cy a n d spl e n d o r o f c ol o r H e is a m a n t o b e studi e d
. .

A n t on e ll o d a M e ss i n a (1 4 3 0 ? 1 4 7 9 ) w a s S icilia n bo r n a n d
—

c om e s i n t o th e Ve n e tia n sch o ol at this tim e (1 4 70) fr o m n o

o n e quit e k n o ws w h e r e H e h ad a k n ow l e dg e o f Fl e mis h
.

m e t h o ds p robably d e r iv e d f r om Fl emish pictu re s o r pain t e r s

9 8 H S TO RI Y O F PA NT N G I I
l e ft O ff T h e tw o gr o u ps o f pai n t e rs s e e m to h av e sta r t e d at
.

n e arly t h e sam e tim e a n d w o rk e d al o n g t og e t h e r i n a s o m e

what similar v e i n as r e gards th e e arly m e n J a cop o B e lli ni .

(fl 4 3.1 0 t h e f o u n d e r o f t h e fam i ly was a p u pil of G e n til e ,

da Fabrian o a n d Pisa n e ll o an d g o t fr o m G e n til e a n u n usual

V i e w o f la n dscap e as r e lat e d t o th e fig u r e aft e rwards d e v e l op e d
, ,

by his son G e n til e Be lli n i T h e r e a r e few o f J ac o p o s w o rks

,
.
’

l e ft b u t his S k e tch b o o k s u rviv e s a n d i n it o n e s e e s his in v e n

-

ti o n his n arrativ e styl e a n d his k n o wl e dg e of n at u r e G e n ti l e

, ,
.

B e lli ni (fl 1 4 2 9 1 5 0 7) w as a p u pil o f h is fath e r a n d a n e x

.
—

t r e m e ly i n t e r e sti n g pai n t e r o n acc o u n t o f h is Ve n e tia n t h e m e s

pai n t e d with op e n —air eff e ct a n d shr ewd k n owl e dg e o f ligh t a n d
air I n th e s e o p e n air sc e n e s h e pai n t e d n o t figur e s wit h a
.
-

la n dscap e backgr o u n d b u t a la n dscap e wit h fig u r e s h oldi n g ,

th e ir p rop e r plac e as sp o ts o r obj e cts i n th e sc e n e His pic .

t u r e s o f Ve n ic e (n ow i n th e Ve n ic e A cad e my ) a r e r e markabl e
fo r th e i r spl e n d o r o f e ff e ct th e i r sat u rati on with c o l o r t h e i r , ,

w o n d e rf ul d e tail a n d s o m e tim e s t h e i r v e ry fin e p o rt r aits

,
.

I n th e s e r e sp e cts G e n til e s p u pil C a rp a c ci o (fl 1 4 7 8

’
.
,

w as his w o rt h y succ e ss o r His subj e cts w e r e r oma n tic a n d

.

c h ivalric r ath e r t h a n r e ligious t h o ugh h e pai n t e d a n u mb e r o f ,

altar pi e c e s T h e l e g e n d was h is d e ligh t an d h is gr e at succ e ss

-
.

as th e S t Ursula an d S t G eo rg e pictur e s at Ve n ic e still i n di

. .

cat e H e was th e b e st l e g e n d t e ll e r wit h th e pai n t brush in

.
-

Ve n e tia n art His fig u r e s a r e d e lig h tf ul in th e ir n aiv e q ual ity

.
,

i n th e i r S implicity i n t h e i r ca n d o r ,
His arch it e ctur e cos .
,

t u m e s O ri e n tal trappi n gs h e lp o u t t h e st o r y a n d at th e sam e

,

tim e fu r n ish gl owi n g c o l o r ; his l a n dscap e s giv e th e r ig h t se t

ti n gs a n d y e t S h o w w o n d er ful k n owl e dg e of l ig h t p e r sp e ctiv e , ,

atm o sph e r e H e w a s n o t a v e ry g oo d draftsma n but th e spirit

.

o f his art is so e ar n e st h o n e st a n d si n c e r e that e v e n t h e awk

, ,

ward bits o i drawi n g t h at app e ar s e rv e t o add to th e g e n e ral

n aiv e e ff e ct B a sti a ni (1 4 2 5 ? 1 5 1 2 ) pr o bably had s om e
.
—

e arly i n fl u e n c e u p o n C arpacci o ; M an su e ti (fl 1 4 8 5 1 5 2 7) —
.
 I TA LIA N PA NT N G I I 99

was a co n t e mpo r a ry o f small abil ity w h o fo ll ow e d G e n til e

B e ll in i ; a n d B ar tolomm e o V e n e to was a G e n til e f o ll o w e r
w h o p r o d u c e d a r ath e r origi n al if o dd po r traitu r e sh o wi n g ,

in it p e r haps s o m e n orth e r n i n flu e n c e s B a r t o l o mm e o M o n .

tagn a a lr e ady n o tic e d was a l so in flu e n c e d by G e n til e

, ,
.

T h e mai n b r a n c h o f Ve ne tia n pain ti n g st e ms f r om th e

y o u n g e st so n o f J ac o p o ,

G i ova nni B elli ni (

1 428?
th e gr e at e st of th e
famil y a n d th e r e a l
l e ad e r of th e e arly Ve n e
tia n sch oo l A t first h e
.

was pr o f o u n dl y r e ligi o us
i n f e e li n g sha r p i n l i n e
, ,

h ard in s u rfac e f o ll o w
,

in g M a n t e g n a . It s e e ms
that ab o ut t h e middl e
of th e fift e e n t h c e n tu ry
t h e B e lli n i family liv e d
at Pad u a a n d M a n t eg n a
ma rr i e d in to it taki n g
,

fo r wif e t h e S ist e r o f
Go i va n n i B e lli n i T h r
e e 44
— B LL D
FI G E I NI MA O NN A A ND S A IN TS

(D L D Y V
. . . .

) E TAI EM E N I CE
was a min glin g O f a r t
. A CA ,
.

as w e l l as o f famil y M a n t e gn a was in flu en c e d p e rhaps to

.

th e acc e pta n c e o f Ve n e tia n c o l o r a n d t h e B e ll in i w e r e i n tur n

in flu e n c e d by Padua n drawin g Th e latt e r sh o w e d in G io .

va n n i B e llin i s e arly work which was a n g ul a r i n d r ap e r y

’
,

a n atomical in th e j o in ts han ds f e e t Bu t h e outg r ew this

, ,
.
,

a n d a l s o muc h of h is r e ligi o us f e e l in g a n d as t h e c e n tu ry d r e w,

to a cl o s e h e b e cam e m o r e n atu r al istic mo r e col o r f u l m o r e , ,

disti n ctly Ve n e tia n so fa r e v e n as s e tti n g th e pac e in h is

,

S Z accaria M ad on n a fo r h is pupil s G i o rgi o n e a n d T itia n

. .

H e n e v e r h o w e v e r quit e attai n e d th e ra n k o f a High R e n ais

, ,
-
1 00 I
H S TO R Y O F PA NT N G I I
sa n c e pai n t e r th ou g h livi n g i n t o th e sixt e e n t h c e n tu ry H e .

had e ar n e st n e ss h o n e sty simplicity cha r act e r f o rc e S k ill ;

, , , , ,

but n o t th e f ull c o mpl e m e n t o f pai n t e r s p o w e r A lbr e cht ’

.

D ti r e r w h e n visiti n g Ve n ic e w r ot e back that Be lli n i w a s o ld

b u t still th e b e st o f t h e m
al l T h e p r ais e w as n o t .

u n d e s e rv e d H e w e n t .

b ey o n d all h is c o n t e m
p ora rie s i n t e c h n ical
str e n gt h a n d c o l o r h a r -

m o n y a n d was i n fact ,

t h e e p o ch maki n g m a n -

o f e arly Ve n ic e .

O f B e lli n i s c o n t e m
’

p ora ri e s and f o ll o w e rs

th e r e w e r e ma n y a n d as ,

a sch o o l th e r e was a
simil a r ity o f styl e s u b ,

j e c t a n d c o l o r tr e atm e n t ,
-

ca r ryi n g thro u gh t h e m
all with i n divi d u al p ecu ,

li a r i t i e s i n e ach pai n t e r .

I n fact th e r e w a s so
m u ch s imilarity o f styl e
b e tw ee n th e w o rks o f
th e f o ll o w e rs a n d t h o s e
FI G 5
—
4 B A S A I TIZBD S O NS V OF o f t h e mast e r t h at ma n y
E E EE E NI CE

D Y
. . . .

o f th e f o ll o w e r s
EM
A CA ’

works ’

a r e stil l passi n g u n d e r B e l l i n i s n am e
’
.

Ci ma d a C o n e g li a n o (1 4 6 0 ? w a s pr obably a pup il

o f A lvis e Vi v a r i n i with lat e r o n s o m e B e lli n i i n fl u e n c e ab o ut

, , ,

h im H e a n d his f e ll ows w e r e tramm e ll e d som ewhat by b e i ng

.

e ducat e d i n d ist e mp e r w o rk a n d th e n midway i n t h e i r ca r e e rs

,

c h a n gi ng t o th e oil m e dium t h at m e dium havi ng b e e n in ,

 C H A PT E R V III

I TA L I A N PA I N T N G I
TH E HI GH RE N A I S S A N CE 1
5 00
—
1 6 00

B O O K S RE C O MM E N D E D " T h o s e o n Ita l ia n art b e f o r e m e n

.

t i o n e d , a n d also " C o x, O ld M as ter s a n d N e w; C r o w e a n d C aval

cas e l l e , Raph ael; Davi e s , M i ch ela n gelo; G rimm , M i ch ael
A n gelo; Holroyd , M i ch a el A n gelo; M u n t z , R a ph a el; O pp e,
Ra ph a el; Passava n t , Raph a el; R e um o n t , A n dr ea del S a r to;
R e ym o n d , M i ch el A n ge; S pri n g e r , Rafa el u nd M i ch el A n gelo;
-

S ym on ds , M i ch a el A n gelo; T ai n e , I ta ly Flor en ce a nd
Ven i ce; W olfllin , I ta li a n Ren a i ssa n ce .

TH E I
H GH E S T D E VE L O PM E N T " T h e w o rd R e n ais
sa n c e h as a b ro ad e r m e a n i n g t h a n its strict e tym ol o gy w o ul d
”

imply It was a n e w birth b u t s om e t h i n g m o r e tha n th e

.
“
,

r e viva l of G re e k l e ar n i n g a n d th e study o f n atur e e n t e r e d in to

it It was th e gra n d c o n s u mmati o n o f I tal ia n i n t e llig en c e in
.

ma n y d epa r tm e n ts th e a rr ival at maturity of th e C hr is

—

tia n t r ai n e d mi n d t emp e r e d by th e phil o s ophy of G r e e c e ,

a n d t h e k n o w l e dg e o f t h e actua l w o rld F u lly arous e d at

.

l ast th e Italia n i n t e ll e ct b e cam e i n q u isitiv e i n v e n tiv e scie n

, , ,

t i fic sc e ptical — e s mu n da n e imm o ral p o ll ut e d It qu e s

, y , , ,
.

t io n e d all t h i n gs d o u bt e d w h e r e it pl e as e d dr o pp e d e asily i n to
, ,
.

crim e c o r ru pti o n an d s e n s u ality y e t b ow e d at th e sh ri n e of

, , ,

t h e b e a u tif ul a n d k n e lt at t h e altar o f C hristia n ity It is .

a n i ll u strati o n o f t h e c o n tradicti o n s that may e xist wh e n t h e

i n t ell e ct u al th e r e l ig i o u s a n d th e m o ra l a re br o u ght tog e th e r

, , ,

with th e intellect u al i n pr e d omi n a n c e .

 ITA LIA N I
PA N T N G I 1 03

It was a k een i n t e ll e ct that o f th e R e n aissa n c e — an d

mad e swift p rogr e ss It r e mod e l l e d th e p hi l o sop h y o f G r e e c e
.

a n d us e d its lit e r atur e as a m o ul d fo r its o w n It d e v el op e d .

R o ma n law a n d i n t r o duc e d mod e r n sci e n c e T h e world .

with o ut an d th e world withi n w e r e r e di sc o v e r e d L a n d a n d .

se a, sta rr y sky an d pla n e tary syst e m w e r e fixe d up on th e ,

c h a r t M an h ims e l f th e a n ima l s th e p l a n ts o rgan ic an d

.
, , ,

FI G .
46 .
-F RA B L
A R TO O MME O . DP E O S I TI O N . P I TTI , FL O RE N C E .

in o rgan ic l if e th e small t h i n gs o f t h e e a r t h gav e up th e i r

,

s e c r e ts I n v en tio n s utili ze d all c l ass e s o f p r o ducts comm e rc e

.
,

flourish e d f r ee citi e s w e r e build e d u n iv e rsiti e s a r o se l e a r n i n g

, , ,

S p r e ad its e l f o n th e pag e s of n e wly i n v e n t e d bo o ks o f p r i n t -

,

a n d p e rh aps g r e at e st o f al l th e a r ts a r os e on st r o n g wi n gs
, , ,

o f l if e to th e v e r y h ig h e st altitud e .

Fo r th e ae st h e tic sid e o f th e R e n aissa n c e i n t e ll e ct it h ad its

e xa l t e d tast e s a n d r e fi n e m e n ts as s h ow n i n t h e h igh qua l ity
,
1 04 I
H S TO R Y I
O F PA N T N G I
of art ; but th e r e w e r e ma n y e arthly an d d egradi n g f e atur e s
c o nn e ct e d with it It was by n o m ea n s so pur e so fra n k so
.
, ,

h on e st as in th e pr e c e di n g p e ri o d Be l ie f a n d r e ligi on w e r e
.

visibly w e ak e n i n g th o ug h th e e ccl e siastical still h e l d str o n g .

Pe o pl e w e r e f o rg e tti n g th e fait h o f t h e e arly days a n d taki n g ,

up wit h th e mat e rial thi n gs about th e m T h e y w e r e gl o rify .

i n g t h e hu ma n a n d e xalti n g t h e n at u ral T h e st o ry o f G r e e c e .

was b e i n g r e p e at e d in Italy A n d o u t o f this n e w w o r sh ip

.

o f t h e e arth cam e j e w e ls o f rarity a n d b e auty b u t o u t o f it ,

also cam e faithl e ssn e ss c o rrupti on V ic e , ,

.

M O TIVE S A N D M E TH O D S " T h o u gh th e r e l igi o us sub

j e c t still h e ld with t h e pai n t e r s this subj e ct i n High ,R e n ais -

sa n c e days did n ot car r y with it th e r e ligi o u s f e e li n g as i n

G o thic days . A r t had g ro w n t o b e som e thi n g m o r e tha n a
t e ach e r o f th e Bibl e I n th e pai n t e r s han ds it h ad c o m e t o
.
’

m e a n b e auty for its o w n sak e a pict u r e b e autif ul for its —

f o rm an d c ol o r r e gardl e ss o f its t h e m e T his was th e t e ac h

,
.

i n g o f a n tiq u e art a n d th e st u dy o f n at u r e but i n c r e as e d th e

,

b e li e f A n e w l o v e h ad aris e n i n th e o u t e r a n d visibl e w o r l d
.
,

a n d wh e n t h e C h urc h call e d f o r altar —pi e c e s th e pai n t e rs

pai n t e d t h e i r n ew l ov e ch r ist e n e d it with a r e ligi o us titl e

, ,

a n d ha n d e d it f o rt h i n th e n am e o f th e o ld T h u s art b e ga n .

t o fr e e its e lf fr o m C h ur c h d omi n ati o n a n d to liv e as a n

i n d ep en d e n t b e auty th o u g h th e C h urc h still co n ti n u e d to
b e th e c h i e f patro n T h e g e n e ra l m o tiv e t h e n o f pai n ti n g
.
, ,

duri n g th e High R e n aissa n c e t h oug h appar e n tly r e ligi o us

,

fr om th e subj e ct a n d i n ma n y cas e s stil l r e ligi o u s in f e e li ng

, ,

was larg e ly t o S h o w t h e b e auty o f fo r m o r c o l o r i n whi c h ,

r e ligi on cam e i n as a qualifyi n g e l em en t .

I n t e ch n ica l m e th o ds t h o u g h e xt e n siv e w o rk was still

,

d o n e in fr e sc o e sp e cially at Fl or e n c e a n d R om e y e t th e bulk
, ,

o f Hi g h R e n aissa n c e pai n ti n g w a s i n O ils up o n

-
pa n e l an d
ca n vas A t Ve n ic e e v e n th e d e c o r ativ e wal l pai n ti n gs w e re
.

up o n ca n vas aft e rward i n s e r t e d i n wall o r c e ili ng Th e

,
.
 1 06 H S TO RI Y O F PA NT N G I I
attac h e d to r e ligi o us th e m e s that still p r e vail e d but it was ,

o ft e n giv e n i n a p e rfu n ct o ry way a n d b e cam e subs e r vi e n t to

t h e m o r e mat e ria l b e a u ti e s o f f o rm col o r a n d m e t h o d

, , .

T his was part l y ill u st r at e d i n t h e cas e o f Fr a B a rt o l om m e o

( 475
1 a m o n k o f S a n M arc o w h o was a c o nn e cti n g
,

l i n k b e tw e e n th e fift ee n t h a nd th e sixt e e n th c e n t u ry H e was .

a r e l igi on ist a f o ll o w e r of S av o n ar o la w h o th o u g h t t o do
, ,

work o f a r e ligi o us Ch aract e r a n d f e e li n g ; b u t h e was a l so

a pai n t e r e xc e lli n g in c o mp o siti on drawi n g drap e ry Th e
, , ,
.

pai n t e r s e l e m e n t in his w o rk its mat e r i al a n d e a r thl y

’
—

b e a u ty rath e r d e tract e d fr o m its spirit u al s ig n ifica n c e H e

—
.

o ppos e d th e s e n s u o u s a n d th e n u d e a n d y e t ab o u t t h e
,

o n ly n u d e h e e v e r pai n t e d a S t S e bastia n fo r S a n M arc o

.

h ad so m u ch o f th e e arthly ab o ut it that p e opl e f o rg o t th e

su ff e ri n g sai n t i n a dmiri n g th e fin e b o dy a n d th e pict ure h ad ,

t o b e r e mov e d fr o m t h e c o n v e n t . I n suc h ways r e ligi o n i n

art was g r ad u ally u n d e rmi n e d n o t al on e by n aturalism a n d
,

c l assicism but by art its e lf Pai n ti n g bro u ght i n t o lif e by

.

re ligi on n o s oon e r r e ach e d mat u rity tha n it le d p eopl e away

fr o m r e l igi o n by p o i n ti n g o u t s e n suo u s b e auti e s i n th e typ e
r at h e r t h a n r e ligi o u s b e auti e s i n t h e symb o l . .

Fr a Bart o l o mm e o was am o n g t h e last o f t h e pi e tists i n

a r t H e had n o gr e at imagi n atio n b u t was p o ss e ss e d of
.
,

f e e l i ng dig ni ty a n d sobri e ty o f V i e w N at u rally h e was

, ,
.

i nflu e n c e d som e what by t h e gr e at o n e s ab o u t him l e a rn ,

i ng p e r sp e ctiv e fr o m R apha e l gra n d e u r fr o m M ich e la n g e lo

, ,

c o n tours f r om L e o n a r d o da Vi n ci an d p e rhaps a s e n s e f or
,

spac e i n la n dscap e fr o m Pe r ugi n o H e w o rk e d in c o llabora

.

tio n wit h A lb e r ti n e lli (1 4 74 a pupil fo r s om e tim e of

C o simo R oss e lli a n d a l s o o f Pi e ro di C o simo T h e i r w o r k is
.

s om e tim e s S O muc h alik e t h at it is d ifli cult to disti nguish

th e pai n t e r s apa r t . A lb e r t in e lli o ccasi o n ally pai n t e d t h e
r el igio u s subj e ct wit h f e e li n g a n d dig n ity as h is Visitati o n in
t h e Ufli zi i n dicat e s but u sually h e was trifli n g a n d at tim e s
,
 ITA LI A N PAI NT N G I 1 07

biz a rr e or d e cad e n t A mo n g th e f o ll ow e rs o f B art ol omm e o

.

a n d A lb e r t in e lli w e r e Fr a P a oli n o (1 4 9 0 1 5 4 7 ) w h o wo r k e d
—

wit h Ba r to l o mm e o a n d was littl e mor e t h an an e c h o Bu gi ar ,

di ni (1 4 7 5 1 5 5 4 ) w h o assist e d Al b e r ti n elli an d acc ept e d sug

-e

g e stio n s f r om man y sou r c e s G r an ac ci (1 4 6 9 ,

a n e cl e ctic

FI G 4 8 — AN D RE A DE L S A RTO D
M A O NN A D LLE
’
P
A R IE
U FF Z FL
. . . .

I I, O RE N C E .

d e vot e d w h at h e c o ul d fin d i n o t h e r pai n t e rs an d p ro
to
du c in g sm oo t h su r fac e d sup e r ficial pictu r e s o f n o g r e at im
-

p o r tan c e a n d Rid o lf o GMrlgndgjo (1 4 83

, a pupi l o f
G r an ac ci w h o p r o duc e d s o m e r ath e r fin e p o rtraits .

A n d r e a d e l S ar to (1 4 86 1 5 3 1 ) w as a Fl o r e n tin e pu r e a n d
—

S impl e a pain t e r fo r th e C h u r c h p r oducin g ma n y mado nn as ,

 H S TO RI Y O F PA NT N G I I
a n d alta r pi e c e s -
a n d y e t p o ss e ss e d o f littl e r e ligi o u s f e e li n g
,

or d e pth H e w as pai n t e r m o r e tha n pi e tist a n d was call e d

.
,

by his t ow n sm e n th e fa u ltl e ss pai n t e r S o h e was as r e ga r ds .

th e t e ch n ical f e atur e s o f h is art His craftsma n ship was e xc e l

.

l e n t a n d as draftsma n br u sh ma n a n d c o l o rist h e was u n cx

, ,

c e ll e d in Fl o r e n c e B u t h e se ld o m br o u ght to th o s e qu aliti e s
.

a n o bl e mi n d o r a n e xalt e d f e e li n g E xc e pt io n ally h e is gr e at
.

as i n th e spl e n d i d D e p o sit i o n i n th e Pitt i o r d ig n ifi e d as in ,

t h e A n n u n ziata fr e sc o s ; b u t u s u ally h e disapp o i n ts e xp e cta

ti on H e was i n fl u en c e d by o th e r pai n t e rs t o s om e e xt e n t
. .

Pi e r o di C o sim o was his mast e r M ich e la n g e l o his m o d e l i n ,

drawi n g Bart o l omm e o his i n flu e n c e r in c o n t o urs an d dra

,

p e r l e s ; wh il e i n warmth o f c o l o r br u sh w o rk atm o sph e ric ,

-
,

a n d la n dscap e e ff e cts h e was q u it e by hims e lf H e had a .

l arg e n umb e r of p u pils a n d foll ow e rs b u t m o st o f th e m ,

d e s e rt e d h im lat e r o n to f o ll o w M ich e la n g e l o P on torm o .

( 94 5
1 4
—
1 w h o w a s muc h i n fl u e n c e d by M ic h e la n g e l o a n d ,

Fr an ci ab i g i o (1 4 8 2 1 5 2 —
w h o pai n t e d v e ry g oo d p o rt r aits ,

w e r e am o n g t h e b e st o f th e m Th e mi n o r fo ll ow e rs w e r e
.

R os so Fi o r e n ti n o (1 4 9 4 a pai n t e r o f so m e flu e n cy ,

B acch i a cca (1 4 9 4 ? 1 5 a pai n t e r with s o m e fa n cy but a n

—
,

i n diff e r e n t draftsma n an d F u li g o (1 4 7 5 1
,
a rath e r tam e —

pai n t e r o f A n dr e a s mad o nn a typ e

’
.

Mi ch elang el o 1 5 6 4 ) has b e e n call e d t h e

— Pr oph e t
o f t h e R e n aissa n c e a n d p e rhaps d e s e rv e s t h e titl e
,
si n c e ,

h e was m o r e o f th e O ld T e stam e n t tha n t h e N e w —

mo re
o f t h e a u st e r e a n d imp e ri o us tha n t h e l o vi n g o r t h e fo rg iv

i ng . T h e r e w as n o s e n tim e n tal f e atur e ab o ut his art His .

c o n c epti o n was i n t e ll e ct u al h ighly imagi n ativ e myst e ri o us

, , ,

at tim e s diso rd e r e d a n d t u rbul e n t i n its st r e n gt h H e cam e .

t h e n e a r e st t o t h e s u blim e o f a n y pai n t e r i n hist o r y t h r o ug h

t h e sol e attrib u t e o f p o w e r H e h ad n o t e n d e r n e ss n o r a n y
.

wi n n i ng charm H e did n o t w in b u t rath e r c o mma n d e d

.
,
.

E v e ryt h i n g h e saw o r f e l t was studi e d fo r th e str e n gt h that

1 10 I
H S TO R Y O F PA NT N G I I
S isti n e c e ili ng a n d h e t o ld th e t ru th H e was a m ag nificep t
,
.

draftsma n a n d dr e w mag n ific e n t sculptur e sq u e fig u r e s on

,

t h e S ist in e va u l t T h at was ab o ut all his achi e v e m e n t

.

with t h e b ru sh I n c ol o r light air p e rsp e ctiv e i n al l

.
, , ,

t h o s e f e atur e s p e culiar to th e pai n t e r h e was b e h i n d his

—

c o n t e mporari e s C omp o siti o n h e k n ew a gr e at d e al ab o ut

.

b u t i n a sculptu re squ e r a th e r t h a n a pictur e squ e way H e .

c o u ld ha n dl e th e si ngl e fig u r e m u c h b e tt e r tha n th e gr o up I n .

drawi n g h e h ad th e m o st p o sitiv e fa r r e ac h i n g c o mma n d o f ,

-

l i n e o f a ny pai n t e r of an y tim e It w a s i n drawi n g t h at h e .

sh ow e d h is p o w e r E v e n this is se v e r e a n d h arsh at tim e s

.
,

a n d t h e n agai n fi l l e d wit h a grac e t h at is ma je stic a n d i n S cop e

u n iv e rsal as wit n e ss th e C r e ati o n o f A dam in th e S isti n e

,
.

H e cam e o u t o f Fl o r e n c e a pupil o f G hirla n daj o wit h a

, ,

sch ool f e e l in g for li n e stim ul at e d by th e fr e sc o s o f M asaccio

a n d S ig n o r e lli H e i n h e rit e d th e t r aditi o n o f G iott o i n h is
.

s en s e o f f o rm b u t vastly im p r ov e d it by c o mpr e h e n siv e a n d

e xpr e ssiv e o utli n e a n d a sc u l ptural m o d e lli n g o f gr e at p o sitiv e
,

n e ss . A t a n e arly a g e h e d e clar e d h ims e lf a n d h e w e d a pat h ,

o f his o w n thr o u g h art sw e e pi n g alo n g wit h him ma n y o f t h e

,

slight e r pai n t e rs o f h is ag e L o n g liv e d h e saw his c o n t em

.
-

o r a r i e s d i e ab o u t him a n d H u ma n ism e n d i n vi o l e n c e ; but

p
al o n e gl oomy r e so l u t e st e adfast t o h is b e li e f h e h e ld his way
, , , , ,

t h e last g r e at r e pr e s e n tativ e o f Fl o r e n ti n e art t h e first g r e at ,

r ep re s e n tativ e of i n dividua l ism i n art W ith him a n d aft e r .

h im cam e ma n y f o ll o w e rs w h o str o v e t o imitat e h is t e r r ibl e “

styl e b u t th e y did n o t succ e e d a n y t oo w e ll

,
”
.

T h e m o st o f th e s e f ol l o w e r s fi n d classificati o n u n d e r th e
M a n n e rists o f th e D e cad e n c e O f th o s e w h o w e r e assista n ts
.

o f M ich e la ng e l o o r carri e d o u t his d e sig n s D a n i e l e d a V o l t e rr a

, ,

( 5 9 5 )
1 0
—
1 6 6 w as o n e o f t h e most satisfact o ry His c h i e f .

w o rk th e D e sc e n t fr o m th e C r o ss was c o n sid e r e d by Po u ssi n

, ,

as o n e o f th e thr e e gr e at pict u r e s o f th e w o rld It is s om e

'

tim e s said to hav e b e e n d e s ig n e d by M ic h e la n g e l o but t h a t ,

 ITA LIA N PA NT N G I I I I 1

is o nl y a co n j e ctu r e It h as muc h acti o n a n d l if e i n it but is

.
,

som e wh at aff e ct e d in p o s e an d g e stur e a n d D a n i e l e s wo r k ,

’

g en e r a ll y was d e fici en t in r e a l en e r gy o f c o n c eptio n an d exe

FI G .
50 .
— RA P HA E L D PU
. IS A(
T D E TAI L) . VA TI CA N , R O ME .

cu t i o n . M ar c e llo V e n u s ti
( 5 5 pai n t e d
1 di r
1 e ct l y “

f ro m M ich e la n g e l o s d e sig n s i n a d e lica t e a n d pr e cis e way

’
.

W (1 4 8 3 1 5 2 0 ) was t h e v e—
r y O pp o sit e o f M ich e l
an g e lo T h e a r t o f th e l att e r was an e xp r e ssio n o f i n dividua l
.

powe r an d was pu r e l y subj e ctiv e R apha e l s art w as larg e ly a .

’

uni ty of obj e ctiv e b e auti e s wit h th e p e r so n a l e l e m e n t as muc h

,
1 1 2 I
H S TO R Y O F PA N T N GI I
in ab e ya n c e as w as p o ssibl e fo r h is tim e H e aim e d at th e .

id eal a n d th e u n iv e rsal i n d e p en d e n t so far as p o ssibl e o f th e

, , ,

i n divid u al a n d so u ght by t h e u n io n o f ma n y e l e m e n ts to
pr o d u c e p e rf e ct h arm on y H e h ad a g e n ius for assimila
.

tio n a n d r e c ombi n atio n that was s om e t h in g mo re tha n e cle c

t i ci sm H e c o u ld r e c e iv e r e arra n g e a n d th e n giv e o u t
.
, ,

agai n wit h ast on ishi n g o rigi n ality F r o m th e first h is e duca .

ti on was a c ul tivati o n o f e v e ry g r ac e O f mi n d a n d h a n d H e .

abso rb e d fr e e ly what e v e r h e f o u n d to b e g o o d i n th e art ab o u t

him A p u p il o f T im o t e o a n d Pe r u gi n o h e l evi e d up on
.
,

f e atur e s O f e xc e ll e n c e in M asacci o Fr a B art o l o mm e o L e o , ,

n ard o M ich e l a n g e l o
,
Fr o m th e first h e g o t t e n d e r n e ss fr o m
.
,

t h e s e co n d drawi n g fr o m th e third c o l o r a n d c omp o siti on

, ,

fr o m t h e fou r t h charm fr o m th e fift h f o r c e L ik e a Pe ricl e a n

,
.

G r e e k h e dr e w from all s o urc e s a n d th e n bl e n d e d a n d u n it e d

,

t h e s e f e atur e s in a p e cul iar styl e of his o w n an d stamp e d th e m

wit h his p e culiar R apha e l e squ e stamp A t first h e r e fl e ct e d .

Pe rugi n o s typ e s a n d s e n tim e n t t h e n h e broad e n e d u n d e r t h e

’
,

i n flu e n c e o f L e o n ard o an d fi n al ly h e acc ept e d th e p ow e r f ul

,

m o d e lli n g a n d f o rms of M ich elan g e l o p e rhaps to th e d e tr i ,

m e n t o f his art His latt e r w o rk sh ows th e e stablish m e n t o f an

.

acad emic man n e r wh ic h e v e n tually e n d e d i n a ma n n e rism .

I n s u bj e ct R apha e l produc e d r e ligi o u s a n d myth o l o gica l

th e m e s but h e w as imb u e d with n e ith e r o f th e s e so fa r as th e
i n itial spirit w as c o n c e rn e d H e l o ok e d at al l subj e cts in a
.

calm i n t e ll e ctual artistic w ay E v e n th e c e l ebrat e d S isti n e

, ,
.

M ad o n n a is m o r e i n t e ll e ctual t h a n pi e tistic a n d th e Vatica n

S ta n z e a lm o st from b e gi n n i n g t o e n d a r e l e ar n e d rath e r t h a n
, ,

e m o ti o n al H e did n o t f e e l k e e n ly o r e x e c u t e passi o n at e ly
.

at l e ast t h e r e is n o str o n g i n dicatio n of it i n th e work .

T h e d o i n g so w o ul d hav e d e str o y e d u n ity symm e t ry r e p o s e , ,

.

T h e th e m e was e v e r h e ld i n ch e ck by a r e gard fo r pr op o rti o n

a n d rhythm T o k e e p all artistic e l e m e n ts i n p e rf e ct e qu ilib
.

r i um allowi n g n o o n e to pr e d o mi n at e s e e m e d t h e mai n sp r i n g
, ,
1 1 4 H S TO RI Y O F PA NT N G I I
Th e i n fl u e n c e o f R ap h a e l s exampl e was larg el y f el t t hr oug h ’

out Umbria Fl o r e n c e R om e a n d N o r th e r n Italy H e h ad

, , , .

ma n y imitat o rs a n d f o ll ow e rs w h o tri e d to pr o duc e R ap h a e l ,

e sq u e q u aliti e s T h e ir e ff o rts usua ll y r e sul t e d i n g r a n di o s e

.

e ff e cts o r sw e e t s e n tim e n tality F r an c e sco P e n n i (1 4 8 8 ? .

1 5 2 8 ) s e e ms t o h av e b e e n c o n t e n t to w o r k u n d e r R ap h a e l

with Som e ability G i u li o R om an o (1 4 9 2 1 5 4 6 ) was th e

.
—

str on g e st o f th e p u pils an d b e cam e th e f o u n d e r a n d l e ad e r o f

,

t h e R o ma n sch oo l whic h h ad c o n sid e r abl e i n flu e n c e upo n t h e

,

pai n t e rs o f th e D e cad e n c e H e tri e d to adopt R ap h a e l s styl e .

’
,

but was n o t c ompl e t e ly succ e ssf ul in doi n g so R ap h a e l s .

’

r e fi n e m en t in G iuli o s h a n ds b e cam e e xagg e rat e d coa r s e ’

n e ss . H e w as a g oo d draftsma n but r ath e r vi o l e n t as a ,

c o l o rist a n d a c omp o s e r o f r e stl e ss a n d at tim e s c on to r t e d

, , , ,

g ro ups H e w as a pr o lific pai n t e r but his w o rk t e n d e d t owa r d

.
,

t h e bar o q u e sty l e a n d had a n u n h appy i n flu e n c e o n t h e suc

,

c e e di n g sch oo ls .

P r im a ti c ci o (1 5 04 1 5 7 0) was o n e o f G iuli o s foll o w e rs a n d

’
—
,

h ad to do wit h th e f o u n di n g o f th e sch oo l of Fon tai n ebl e au

i n F ra n c e G i ovan ni d a Ud i n e (1 4 8 7
. a Ve n e tia n
trai n e d pai n t e r b e cam e a foll o w e r an d assista n t o f R apha el
, ,

his o n ly o rigi n ality sh o wi n g i n d e c o r ativ e d e sig n s P e ri n o .

d e l V a g a (1 5 00 1 5 4 7 ) w a s o f a similar cast o f mi n d
—
An drea .

S abb ati ni (1 4 8 0 ? 1 5 4 5 ) ca r ri e d R ap h a e l s typ e s a n d m e t h o ds

’
-

t o t h e sout h o f Italy a n d s o m e a r tists at Bo l og n a a n d i n , ,

Umbria l ik e I n n oc e n zo d a I m o l a (1 4 9 4 1 5
, adopt e d th e —

R ap h a e l typ e a n d m e th o d t o th e d e trim e n t of w h at n ativ e

ta l e n t t h e y may h av e p o ss e sse d .

EXTA NT W O RK S " F l i s t s f t h pa i t r s w rks d t h i r or o e n e

’
o an e

l a ti
oc sult B r s B r w
o n con d Ra ki d Cr w
e d C ava l
en on, o n an n n , an o e an

cas ll as b f r i t d t t h
e e d f C h ap t r V
e o e c A d r a d l S a rt i
e a e en o e . n e e o s

s a t h i b s t i h i A u i a t a fr s s M i h l a g l
een s e n ly i th
s nn nz e co ,
c e n e o on n e

S i s ti C h ap l i
ne R m d R ap h a l i
e ag a i a t hi b s t i n t h
n o e, an e s, n, s e e

S ta f t h V a ti a
n ze o e c n .
 C H A PTE R I X

I TA L I A N PA I N TI N G

TH E HI GH RE N A I S S A N CE ,
1 5 0 0
—
1 6 00 . C O N TI N U E D
BO O K S R E C O MM E N D E D " Th e w o rks on Italia n a r t b e fo r e
m e n ti on e d , c o n sult th e G e n e ral Bibli o g r aphy a n d a l so " C ust ,
Gi ova nn i A n ton i o B a zzi ; G ard n e r , P a i n ter s of th e S ch ool of
F er r a r a ; G au th i e z , L u i n i (L es Gr a nd es A r ti stes ) ; G r o n au ,
C orreggi o; L eon a r do da Vi n ci ; Hals e y , Gauden zi o F err a ri ;
H o m e an d C ust , L eon ardo da Vi n ci ; M e y e r , C orreggi o; M oo r e ,
C or r eggi o; M u n t z , L eon ardo da Vi n ci ; Pat e r , S tudi es i n th e H i s
tor y of th e Ren ai ss a n ce; R icci , C or r eggi o; R icht e r , L eon a r do
da Vi n ci ; Thii s, L eon ardo da Vi n ci ; W i ll iams o n , L u i n i .

LE O NAR D O W
DA V IN C I A ND TH E M ILA N E S E " Th e
th fi p e r so n in t h e g r e at Fl o r e n ti n e tri n ity o f pa i n t e r s was
L e on a r d o d a Vi n ci (1 4 5 2 t h e o th e r tw o b e i n g M ic h e l
an g e l o an d R ap h a e l H e g r e atly i n flu e n c e d th e sc h o ol o f
.

M il a n a n d h as usual l y b ee n c l ass e d with th e M il a n e s e y e t

, ,

h e was e ducat e d in F l o r e n c e i n th e w o rksh op of Ve rr o cc h io

, ,

a n d was so u n iv e r sa l i n t h o ug h t a n d m e t h o ds t h at h e h a r dl y

b e l o n gs to a n y sc h oo l .

H e h as b e e n c al l e d a r e alist a n id e a l ist a magicia n a

, , ,

wiza r d a d r e am e r an d fi n ally a sci e n tist by d iff e r en t

, , ,

w r it e r s ye t h e was n o n e o f t h e se t h i n gs w h il e b e in g a ll of
,

t h e m a f u l l r ou n de d m an l e a rn e d in man y d epa r tm en ts
-
,

a n d e xc e ll i n g i n a l most e v e r yt h i n g h e u n d e r took H e h ad th e .

sci e n tific a n d e xp e r im en tal way o f w o r ki n g at t h i n gs T h at .

is p e rh aps to b e r e g r e tt e d si n c e i t r esul t e d i n h is e xp e r im en t
,

in g wit h e v e ryt h i n g a n d c omp l e ti n g l itt l e of a n yt h i n g His .

diff er e n t tast e s an d pu r suits pu ll e d h im diff e r en t ways an d ,

 HI S TO R Y O F ‘
PA NT N G I I
h is k n owl e dg e mad e him sc eptical o f his ow n pow e r s H e .

p o n d e r e d a n d t h o u ght how to r e ac h up h igh e r h ow to ,

p e n e t r at e d e ep e r how to r e al i ze mor e comp r e h e n siv e ly a n d

, ,

i n th e e n d h e gav e up i n d e spai r H e c o u ld n o t f ul fil h is .

id e al of th e h e ad o f C hr ist n or th e h e ad o f M o n a L isa a n d ,

aft e r y e ars o f lab o r h e

l e ft t h em (so h e said)
u n fi n ish e d T h e pr o bl e m .

o f h uma n lif e t h e spirit , ,

th e w o rl d e n g ross e d
him a n d all his cr e a ,

ti o n s s e e m impr e g n at e d
with th e psycho l og ical ,

t h e mystical t h e u n at ,

t a i n ab le th e hidd e n ,
.

H e w as n o r e ligi o n ist ,

th o ugh pai n ti n g th e r e
lig io u s subj e ct with f e e l
i n g ; h e was n o t i n a n y
s e n se a classicist n or ,

h ad h e a ny car e fo r t h e
a n tiq u e marbl e s whic h ,

h e c o n sid e r e d a study
of n atur e at s e c o n d
FI G L D — V
E O NA R O DA L L UV
IN C I
h a n d H e was m o r e i n
MO NA IS A O RE
.

5 2
l ov e with p hysical life
. . . . .

a n d his r e ga r d fo r c o n t o u r s r hythm o f l i n e bl e n d o f light

, ,

with S had e study o f atm o sp h e r e p e rsp e ctiv e tr e e s r o cks

, , , , ,

a n imals huma n ity S h o w t h at th ough h e e xami n e d n at u r e

, ,

sci e n tifically h e pictur e d it ae sth e tically I n his typ e s th e r e

,
.

is much sw e e t n e ss o f s o u l cha r m o f spirit dig n ity o f mi e n

, , ,

e v e n gra n d e u r a n d maj e sty o f pr e s e n c e His p e opl e a r e .

f ull o f lif e i n t e llig e n c e sympathy ; th e y h av e fasci n ati o n o f

, ,

ma n n e r wi n som e n e ss of mood grac e of b e ari n g W e se e t hi s

, ,
.
1 1 8 I
H S TOR Y O F PA NT N GI I
M IL A N E S E S C H O O L " T h o ug h acc omplish L eo n a r do s ’

m e n t s ee ms sligh t b e caus e o f th e littl e t h at is l e ft t o us ye t ,

h e h ad a gr e at foll o wi n g n o t o n ly am on g th e Fl o r e n ti n e s suc h
as Pi e ro di C o sim o Fr a Bart o lomm eo a n d R apha e l but at
, ,

M il a n w h e r e Vi n c e n z a Foppa h ad sta r t e d a scho ol i n t h e E arly

,

R e n aissa n c e tim e L e o n ardo was at M il a n fo r f o u r t e e n y e ars

.
,

FI G .
S4 .
— SO L A RI O . D
MA O N N A O F G RE E N C U SH I O N . L UV
O RE .

and his artistic p e rso n ality i n flu e n c e d ma n y pai n t e r s to ado pt

h is typ e a n d m e th o ds B e rn a r di n o L u i ni (1 4 75 ? 1 5 3 1 ) was
.
—

t h e m o st p ro mi n e n t o f th e discipl e s th o u gh o rigi n ally

a pupi l o f Bo rg o g n o n e H e cultivat e d L e o n ard o s s e n ti
.
’

m en t styl e s u bj e cts a n d c omp o siti on i n h is middle p e ri o d

, , , ,

but lat e r o n d e v e l o p e d som e i n d ep e n d e n c e a n d o rigi n ality .

H e cam e at a p e r iod of art w h e n t h at e a r n e st n e ss of cha r act e r

 I TALI A N I
PA NT NG I 9

iz a tion w hic h ma r k e d th e e arly m en was givin g way to g r ac e

f uln e ss o f r e citatio n a n d that was th e chi e f f e atu r e o f h is
,

a r t Fo r that matt e r g r ac e ful n e ss an d pat h e tic sw ee tn e ss of

.

m oo d wit h wa r mt h o f c o l or c h a r act e r ize d a ll th e M il an e se

, ,

pain t e rs .

T h e mo r e p r o min e n t lig h ts o f th e sc h o o l w e r e B oltr afli o

a pai t r limitati n s but o f muc h r e fi n e m e n t
(4 7
1 6 n e o f o

a n d pu r ity w h o i n s o m e o f h is gro u ps as i n his p o r traits tr e ads , ,

cl o s e ly up on L e o n ard o s h e e ls A m b r og i o d a Pr e di s (fl 1 4 8 2
’
,
.

1 5 0 6 ) w h o was i n flu e n c e d by L eo n a r do a n d was us u a ll y dir e ct ,

a n d f r a n k i n his p o rtraits but a littl e hard i n li n e a n d w oo d e n

i n su r fac e a n d M ar c o d O gg i on o (1 4 7 0 ?
,
’
a n assista n t

a n d f o llow e r o f s o m e m e r it S o l ari o (fl 1 4 93
. pr obably .

b e cam e ac q uai n t e d e arly wit h th e Ve n e tian m o d e o f w o rki n g

p r actise d by A lvis e Viv ar in i but h e aft e rwa r d cam e un d e r
,

L e on a r do s S p e ll at M il a n H e was a car e f ul pain t e r p o s

’
.
,

s e sse d o f f ee lin g an d t en d er n e ss prod u ci n g pict u re s wit h ,

e n am e ll e d surfac e s a n d c on sid e rabl e d e tail His p o r traits .

a r e th e b e st pa r t o f hi s work a n d a r e o ft e n e xc e ll e n t in t h e i r

stu r dy sim plicity G i an pi e trin o (fl 1 5 2 0 1 5 4 0) a n d C e sar e

. .
—

d a S e sto (1 4 7 7 1 5 2 3) w e r e als o o f t h e M ila n e s e sc h oo l th e

—
,

l att er aft e rward fall in g un d e r th e R apha e l i n flu e n c e B e r .

n ar d i n o d e C on ti (fl 1 4 9 0 1 5 2 2 ) p r o duc e d s o m e ha r d pr o fil e s
’ —
.

wit h c on sid e rabl e i n di vid u ality ab o ut t h em an d som e M ad onn a

pi e c e s cl o se ly r e s emblin g t h o s e o f L eon ard o Fr an c e sc o M e l zi .

a n d S al ai n o w e k n ow littl e ab o ut t h o ug h t h e r e is a pictu r e

at B e r l in a n d a n o t h e r at Pe tr ograd by M e l zi that S h ow
t h e L e on ard o typ e s o m e w h at sw e e t e n e d an d p r e t tifi e d G au .

d e n zi o F e rr ar a (1 4 7o ? a br illian t c o l o rist a n d a pain t e r

o f som e di st i n ctio n was u n d e r L e on a r d o s infl u en c e at on e
,
’

tim e an d with th e t e achin gs of t h at mast e r h e mi n gl e d a l itt l e

,

of R apha e l in th e typ e o f fac e H e was a n u n e v e n pain t e r

.
,

o ft e n e xc e ssiv e i n s e n tim e n t but at his b e st o n e o f t h e m o st

,

Ch a r m i n g o f t h e L e o n ard o f o ll ow e rs D e f e n d e n t e F e rr ari .
1 20 I
H S TO R Y O F PA NT N G I I
(fl . 1 5 10
—
5 35)
1 an d M acr in o d A lb a (1 4 7 0’ —
1 5 28 ) w e r e pai n t e r s
of n ot e i n t h e L o mbardy re gio n r e c e ivi n g imp u ls e s p e rh aps , ,

f r om ma n y sourc e s am o n g t h em L e o n ard o .

FI G .
55 . SO D O MA . E C S TA S Y OF ST . C A T H E RI N E . S I E NA .

SO D O M A A ND TH E S IE N E S E " S i e n a aliv e i n th e fo ur ,

t e e n t h c e n t u ry t o t h e stirri n g in a r t i n t h e fift e e n th c e n t u ry ,

was i n alm o st c ompl e t e e clipse n o pai n t e r s o f imp o rta n c e ,

e ma n ati n g fr o m o r b e i n g e stablis h e d th e r e I n t h e S ixt e e n t h .

c en tu ry t h e r e w a s a r evival of a r t b e caus e of a n o r t h ern

1 22 I
H STO R Y O F PA NT N G I I
1 559 ) was a p u pil of P a n e tti a n d D oss o w h o mad e s e v e r a l ,

visits t o R om e an d t h e r e f e l l in l ov e with R apha e l s w o rk ’

,

w h ic h showe d i n a fo n d n e ss fo r th e flow of li n e i n th e typ e of ,

fac e adopt e d an d in th e ,

g r oupi n g o f h is many
e as e l pict u r e s H e was .

n o t so f o rc e f u l a pai n t e r

as D o ss o a n d in addi ,

ti o n h e had c e rtai n m an
n e r i sm s or e a rmarks ,

s u c h as s oo ti n e ss in his
fl e sh ti n ts a n d bri gh t
n e ss i n his y e ll o ws a n d

gr e e n s with d u l n e ss in ,

h is r e ds Bo t h h e a n d .

G ar o fal o w e r e origi n a l
in th e ir striki n g back
gr o u n d la n dscap e s S O .

also was O rto l an o a ,

mast e r c on f u s e d wit h
G ar o fal o but a d e cid e dly
str on g e r l e ss a ff e ct e d ,

p a in te r M azzolino .

(1 4 7 8 ? was a n
oth e r o f th e sch oo l prob ,

ab l y a p u pil o f E rc o l e
R ob e rti i n flu e n c e d by
C o sta H e was a n e lab .

6 —D B B M L I AN
o rat e pai n t e r f on d of
FI G
5 . . OS SI . ST . SE A S TI A N . R E RA , .

a r chit e ct u ral backg ro u n ds an d g l o wi ng c olors so m e tim e s e u

l iv en e d with g old i n th e hig h l ights R am e n g hi (1 4 84 1 5 4 2 ) .
—

was a pupil o f F ra n cia at Bol og n a but wit h muc h o f D osso ,

a n d Fe r r ara ab o ut him H e i n c o mm o n with I n n o c e n zo da

.
,

Imol a ,a lr e ady m e n ti on e d was in d ebt e d to th e a r t of R ap h a el

, .
 ITA LIA N PA N T N G I I I 23

C O RRE G G O I A T PAR M A " I n C or r e gg i o

all (
1 4 94 P
—
1 5 34 )
t h e B occacci o n atur e o f t h e R e n aissa n c e cam e t o t h e surfac e .

T his lov e o f th e p ur e ly n atural was i n dicat e d i n A n dr e a d el

S a r to b u t C o r r e ggi o was t h e c o n summati on H e was t h e .

pain t e r wit h w h o m th e b e auty o f th e huma n as distin guish e d

f ro m th e r e ligious an d th e c l assic sh ow e d at its v e r y str on g e st .

S mili n g mad o n n as r avi n g n ymphs e xcit e d C h il d r e n o f t h e

, ,

w oo d a n d a n g e ls o f th e sky pass a n d r e pass th rough h is

,

pict ur e s i n an atm o sph e r e o f pur e s en s u ousn e ss T h e y .

app e al t o us n o t r e ligi o usly n o t histo r ically n o t i n t elle c tu

, ,

ally but s e n su o usly an d artistically t h r o u gh th e i r rh y th

,

mic lin e s th e i r palpitati n g fl e sh th e ir b e auty o f c o l o r a n d i n

, , ,

t h e light a n d atm o sph e r e that su r r o u n d t h e m H e w as l e ss .

o f a r e ligi o n ist tha n A n dr e a d e l S arto R e ligi on i n art w a s .

l o sin g g r o un d in his day an d t h e lib e r ality an d w o rldl i n e ss

,

o f its t e ac h e rs app e ar e d cl e arly e n o u g h i n t h e d e c o r ati o n s of

t h e C o n v e n t o f S t Pa ul at Parma w h e r e C o rr e ggi o w as all ow e d

.
,

t o pai n t myth o l o gical D ia n as a n d C upids i n t h e plac e o f

sain ts a n d mad o n n as T r u e e n o ugh h e pai n t e d t h e r e ligi o us
.
,

subj e ct v e ry O ft e n but with th e sam e spir it o f lif e a n d j oy o us

,

n e ss as pr o fa n e subj e cts .

T h e classic subj e ct s e e m e d m o r e appr opriat e t o h is spirit ,

a n d y e t h e k n e w an d pr o bably car e d l e ss ab o u t it t h a n t h e

r el igio us subj e ct His D an ae s a n d L e das a r e on ly so in n am e

. .

T h e y h av e litt l e o f th e H e ll e n ic spi r it ab o ut t h e m a n d f or th e ,

st e rn e r h e r o ic p h ase s o f classicism th e l o fty th e gra n d

, ,

C o rr e ggio n e v e r e ssay e d t h e m Th e thi n gs o f t h is e art h a n d

.

t h e sw e e t n e ss t h e r e o f s e e m e d e v e r h is a im W om en an d .

ch il dr e n w e r e b e autif ul to h im in th e sam e way that fl ow e r s

a n d t r ee s a n d ski e s a n d su n s e ts a r e b e a u tifu l T h ey w e r e .

re v e l ation s of g r ac e cha rm m o v e m e n t lig h t shad e c ol o r

, , , , ,
.

S imply to e xist a n d b e glad in t h e su n lig h t was sw e e t n e ss to

C o r r e ggi o H e w o ul d hav e n o S iby l e squ e myst e r y n o p r o
.
,

h e t i c aust e r ity n o s ol e m n ity n o gr e at i n t e ll e ctuality H

p , , e .
1 24 I
H S TO R Y O F PA N T N G I I
was a l e ad e r of a tragic cho ru s T h e d r amatic th e f o r c e
not .
,

ful t h e p o w e rf u l w e r e f o r e ig n t o his m oo d
, ,
H e was a si n g e r .

of l y r ics an d pasto r a l s a l ov e r of t h e mat e r ial b e auty about

,

FI G .
57 . C O RRE GG IO . HO LY G
NI H T . D D
RE S EN G LL Y
A ER .

h im , an dit is b e caus e h e passe d by th e pi e tistic th e c l assic , ,

t h e l it e ra r y a n d S how e d t h e b e a u ty of physical lif e as an

,

a r t m o tiv e that h e is som e tim e s call e d th e Faun of th e R en ais

-

san c e Th e app ell atio n is n o t i n app r op r iat e

. .
1 26 H S TO RI Y O F PA NT N G I I
was o n e o f th e fi r st m e n in R e n aissa n c e Ita l y t o pai n t a pictu re
fo r th e pu rp o s e o f sh owi n g a sch em e o f lights a n d darks u n d e r
l yi n g a tap e stry o f r ich c o l o rs T hat is art fo r art s sak e .
’

a n d t h at as will b e s e e n furth e r on was th e pict u r e m o tiv e

, ,

of th e gr e at Ve n e tia n s E v en tual l y it le d to th e D e cad e n c e .

,

a n d th e r e is a d e cid e d f e e li n g of t h e comi n g a ff e ctatio n i n s o m e

of C o r r e gg io s w o rk but it usual ly st ops S h o rt o f actua l

’
,

participati o n .

C or r e gg io s imm e diat e pup il s a n d f o llow e rs lik e t h o s e o f

’
,

R apha e l a n d A n dr e a d e l S art o did him small h on o r As , .

was usually th e cas e i n R e n aissa n c e art hist o ry th e y caught —

at th e m e th o d a n d l o st t h e spirit of th e mast e r His son .

,

P om p o n i o A ll e g ri (1 5 2 1 was a pai n t e r o f som e mark

with o ut b e i n g i n th e fr o n t ra n k M i ch el a n g e l o A n s e lmi (1 4 9 1 .

was a n i n diff e re n t imitato r o f C o r r e ggi o a n d p e rhaps ,

his assista n t Pa rm ig i a n i n o (1 5 04
. a ma n n e r e d pai n t e r
o f som e brillia n cy a n d o f e xc e ll e n c e i n port r aits w a s p e r h aps
, ,

t h e b e st o f t h e imm e diat e fo l l o w e rs th o u gh bord e ri n g o n t h e

bi z ar r e a n d f oll owi ng R apha e l t o h is d e trim e n t It was n o t .

u n til aft e r C o rr egg io s d e ath a n d with th e pai n t e rs o f th e’

,

D e cad e n c e n o tably t h e C arracci at Bo l o g n a that his work

, ,

w a s s e ri o usly tak e n up a n d f o l l o w e d .

XTA N T W O RK S " F li s t s f t h pa i t r s w r ks d th i r
E or o e n e
’
o an e

l a ti
oc sult B r s B r w
o n co n d R a ki d Cr w d C ava l
e en on , o n an n n, an o e an

cas ll as b f r i t d a t t h d f C h ap t r V L a rd d Vi i
e e e o e c e e en o e . e on o a nc

i s
s i
e enth L uv r
n d t h U fli i
e H i pup i l s
o b st h w i
e an e z . s are e S o n n

th eBr r a M il a
e C rr gg i
,
a t b s tudi d a d q ua t l y ut s i d
n . o e o c n no e e e e o e

of Pa r ma .
 C H APTE R X
I TA L I A N PA I N TI N G

TH E HI GH C
RE N AI S S A N E , 1 5 00
—
1 6 00 .
—
C O N TI N UE D
B O O K S R E C O MM E N D E D " Th e w o r ks on Ita l ia n art b e f o r e
m e n ti o n e d , c on sul t G e n e ra l Bib l i ography , an d a l s o ; Be r en s on ,
L or en zo L otto; B osch i n i , L e r i cch e mi n er e della pi ttu r a Ven e
zi a n o; C o ok , Gi or gi on e; C r o w e a n d C av a lcase ll e , Ti ti a n ;
Fr y , P aolo Ver on ese; G r on a u , Ti ti an ; Ham e l , Ti ti a n ; J usti ,
Gi orgi on e; Phi llips , Ti ti an ; Phillipps , Ti n tor etto; R ick e tts ,
Ti ti a n ; T h o d e , Ti n tor etto; Ve n turi , Gi orgi on e e i l Gi or
gi on i sm o; W ill iams o n (E d ) ,
Th e A n on i mo .

TH E VE NE TLAN S C H O O L It was at Ve ni c e an d wit h th e

"

Ve n e tia n pai n t e r s of t h e s i xt e e n t h c en tu r y t h at a n ew a r t
motiv e was fin all y an d fully ad opt e d This a r t m o tiv e was -

n o t r e l igio n. Fo r t h oug h th e r e l igious subj e ct was st ill l a r g e l y

use d th e r e l igi o us o r pi e tistic impul s e of say Fr a A n g el ico
, , , ,

was n o t wit h th e Ve n e tian s an y m o r e t h an wit h C o rr eggio .

It was n o t a classic an ti q u e r e a l istic o r n atu r alistic m o tiv e

, , , ,

t h oug h th e Ve n e tian s w e r e i n t e r e st e d in all o f t h e s e ma n if e sta

tio n s e v en d own t o lat e R en aissan c e t im e s W hat t h e y p r i .

maril y soug h t was d e c o rativ e eff e ct in f o rm c ol o r light , ,

m e r e s en suous an d pict o rial e ff e ct in whi c h r e ligi on an d classi

c i sm play e d s e co n da ry pa r ts T h e y b e l i e v e d in art for art s
’
.

sak e ; t h at pain ti n g w a s a c r e atio n n o t a n illust r ati on ; that

,

it sh o u ld e xist fo r its pict o r ial an d d e c o r ativ e b e auti e s n o t fOr ,

its s ubj e ct or st ory N o matt e r what t h ei r s u bj e cts t h ey

.
,

i n va r iably pai n t e d th e m so as to S h ow th e beai i fie s t h ey priz e d

_

t h e high e st .A n d n o matt e r w h at th e co n c eptio n it app e a l e d

1 28 I
H S TO R Y O F PA NT N G I I
primaril y to th e ey e a n d w a s a b e a u ty t o b e s e en r at h e r t h a n
imagi n e d T h e d e licat e c on t o u r s of a fo r m th e flow a n d fall
.
,

o f silk t h e r ic h n e ss o f a br o cad e a sch e m e o f color or lig h t

, , ,

th e charact e r o f a fac e t h e maj e sty o f a figur e w e r e O ft e n

,

d omi n a n t a n d c o n tr o lli n g f e atu r e s A n d this was n o t a sl ight

.

o r u n w o r thy c o n c epti o n T ru e it d e alt wit h th e f ul n e ss o f

.

mat e rial lif e with Ve n e tia n lif e b u t r e gard e d as t h is was by

, ,

t h e Ve n e tia n s a t h i n g f ul l r o u n d e d comp l e t e h a rmo n i o us

-
, , ,

S pl e n did it b e cam e a gr e at id e a l of e xist e n c e wh ich pai n ti n g

a l on e o f all th e a r ts c o u ld p e r h aps ad e q uat e ly se t fo r th
, , .

I n t e ch n ica l e xp r e ssi on c o l o r was t h e n ot e o f all t h e pai n t e r s

o f t h e sc h oo l with h ardly a n e xc e ptio n
,
T his i n its e lf w o uld .

s e e m t o imply a light n e ss o f spirit for colo r is s om e h o w asso ,

c i a t e d i n t h e pop u lar mi n d wit h d e c o r ativ e gay e ty ; but

n o thi n g c o u ld b e furt h e r r e mov e d fr o m t h e Ve n e tia n sc h o o l

tha n triviality C ol o r was tak e n up wit h th e gr e at e st s e ri o us

.

n e ss ,
a n d ha n dl e d i n suc h mass e s a n d wit h suc h dig n ifi e d

p ow e r that whil e it pl e as e d it also aw e d th e sp e ctat o r W it h

,
.

o u t h avi n g quit e t h e s e v e r ity o f l i n e s om e o f t h e Ve n e tia n

,

c hro matic sch e m e s ris e in sublimity a l m o st to th e S isti n e

mod e l l i ngs o f M ich e l a n g e lo W e do n ot f e e l t h e s e aw e in sp ir
.
-

i ng h arm on i e s o f c o l o r i n th e Be lli n i a n d th e ir c on t e mp o ra r i e s
b e caus e th ey cam e too e a r ly fo r th e f u l l spl e n d o r b u t t h e i r ,

p u pils an d foll ow e rs c o mpl e t e d w h at th e e a r li e r m en h a d so

w e ll s u gg e st e d .

TH E G RE A T VE N E TIA N S " T h e m o st p o sitiv e i n i n fl u e n c e

up o n h is c on t e mp o rari e s o f al l th e g r e at Ve n e tia n s was Be lli n i s ’

p u pil G i o r g i on e (1 4 7 8 ?
,
H e di e d you n g a n d w h at ,

f e w pict u r e s by him a r e l e ft t o us h av e b e e n so tor n to pi e c e s

by m o d e rn critic i sm that at tim e s o n e b egi n s t o d o u b t if th e re
e v e r w as suc h a pa i n t e r His e xta n t works a r e almost as
.

r ar e as th o s e o f L eo n ard o da Vi n ci b u t fr o m th e m w e gai n
his p o i n t o f V i e w an d his styl e It s e e ms that h e thought o f
.

pai n ti ng alm o st i n t e rms o f rhythmic p o e t ry o r wit h a l y r ic

1 3 0 I
H S TO R Y I
O F PA NT N G I
but w e r e c o n t e n t to l e ad th e lif e t h at was sw e e t i n its gl ow
a n d warmth of c o lor its ligh t its atmosp h e r e its b e n di ng
, , ,

tr e e s a n d arc h i n g ski e s A stro n g full bl oo d e d r ac e s ob e r

,
.
,
-
,

mi n d e d dig n ifi e d r a ti o n ally h appy wit h t h ei r lo t G iorgi on e

, , ,

p o rtray e d t h e m wit h a n a r t j oyous in spi r it a n d c o n summat e

i n skil l T h e ir l e ast f e at ur e s u n d e r h is b ru s h s e e m e d to g l o w
.

like j ew e l s T h e S h e e n of a rmo r an d r ic h r ob e a ba r e fo r e arm

.
,

o r S h o uld e r a n u d e back o r lo o s e n e d h ai r
,
m e r e m o rs e l s o f
,

c ol o r a n d light al l t oo k o n a n ew b e auty E v en la n dscap e .

wit h h im b e cam e m o r e sig n ifica n t His mast e r B e lli n i h ad .

, ,

b e e n r e alistic e n ou g h in th e d e tails o f tr ee s a n d h ills but ,

G i o rgi o n e grasp e d th e m e a n i n g o f la n dscap e as a n e n ti r e ty ,

a n d r e n d e r e d it wit h a b r e adt h sugg e stiv e of its S cop e a n d

e xt e n t .

T e c h n ica l ly b e adopt e d th e o il m e dium b r o ug h t to Ve n ic e

by A n to n e ll o da M e ssi n a a n d t hr oug h scumb l i n g a n d gla zi n g
,

produc e d w o n d e r ful brillia n cy a n d d ept h o f c ol o r O f l ig h t .

a n d s h ad e h e w a s a mast e r s e tt i n g a n e xampl e t h at was wid e l y

-
,

f o l l ow e d i n lat e r Italia n a r t ; a n d i n atmosp h e ric e n v e l op e h e

was agai n a l e ad e r with ma n y follow e r s H e i n c ommo n
, ,
.
,

with all th e Ve n e tia n s is som e tim e s said t o b e lacki n g i n

,

d r awi n g b ut that is th e r e sul t o f a misu n d e rsta n di ng T h e

,
.

Ve n e tia n s n e v e r ca r e d t o acc e n t l i n e ch o osi n g r ath e r to mod e l ,

i n mass e s of lig h t an d S h adow a n d c o l o r .

I n e v e ry p h as e of t e c h n iqu e G i o rgi o n e was a mast e r a n d

y e t n o t quit e up to h is co n t e mp o r ary T itia n T h at is n o t .

su rp r isi n g fo r Ti ti a n (1 4 7 7 1 5 7 6 ) w a s th e pai n t e r e as il y
,
—

first i n th e whol e r a n g e of Italia n a r t H e was p e r h aps .

th e fi r st pai n t e r i n Italy to h an dl e a b r ush w i t h a l l t h e

r e sourc e s o f craftsma n ship at c omma n d A n d y e t T itia n s .
’

t e ch n iq u e w as pr obably t h e l e ast pa r t o f h is g e n ius .

C alm i n m o o d dig n ifi e d a n d O ft e n maj e stic i n c o n c epti on

, , ,
’

l e ar n e d b ey o n d a ll o th e r s in his craft h e mi n gl e d t h o ug h t , ,

fe eli n g f o rm a n d c ol o r i n t o o n e g r a n d a n d g l owi n g w h ol e
'

.
,
 ITA LIA N I
PA NT N G I 1 31

He e mp h asi ze d n othi n g y e t e l e vat e d e v e ryt hi n g I n pur e

, .

i n t ell e ctual thought h e was diff e r e n t f r o m R apha e l H e n ev e r .

so ugh t to mak e pa in ti n g a v ehi cl e for t h e o l ogica l l it e ra ry , ,

o r classical id e as His tal e was l arg el y of h uma n ity u n d e r a

.

re ligi o us o r cl assica l n am e but a n obl e maj e stic human ity

, , .

FI G 60 — T1 T1A N S A CR E D A ND PR O PA N E L O VE D
( E TAI L)
B G G LL Y
. . . .

OR HE S E A ER , R O ME .

In his ar t dign ifie d s en ato r s st e r n dog e s a n d so l e m n e cc l e

, ,

si a sti cs mi n gl e wit h o p e n e y e d mado nn as -

wi n n i n g A r iadn e s , ,

a n d y o ut h f ul B a c ch u se s M e n an d w o m en t h e y a r e trul y
.
,

b u t th e v e r y n obl e st o f th e Italia n r ac e th e mou n tai n r ac e ,

of th e C ad o r e cou n t ry pr o ud activ e gl owi n g wit h lif e ; th e

, ,

se a r ac e of Ve n ic e wo rl dl y wis e full o f c h a r act e r l uxur ious

, ,

in p ow e r .
1 3 2 I
H S TO R Y I
O F PA N T N G I
In hims e lf T itia n was a n epit o m e o f all th e exc ell e n c e s o f
pai n ti n g. t h e su m o f Ve n e tia n sk il l t h e ,

c ro w n i n g g e n ius o f R e n aissa n c e art H e h a d forc e p ow e r .

‘

, ,

i n v e n ti o n imagi n ati o n p o i n t o f V i e w ; h e had th e i nfi n it e

, ,

k n owl e dg e o f n atu r e a n d t h e i n fi n it e mast e ry of a r t I n .

additi on Fo rtu n e sm il e d up on h im as u p on a fav o rit e chi ld

, .

T r ai n e d i n mi n d a n d h a n d h e l iv e d fo r n i n e ty n i n e y e a r s -

a n d work e d u n c e asi n gly u p t o a f e w m o n ths o f his d e ath .

His g e n ius was g r ga t a n d his accompl i shm e n t e qually so H e .

was c e l e brat e d a nd i n d e p e n d e n t at thirty fiv e th o u g h b e for e -

,

that h e ow e d so m e thi n g t o th e i n fl u e n c e o f G i o rgio n e A ft e r .

t h e d e ath O f G i o rgi o n e a n d h is mast e r B e lli n i T itia n was t h e, ,

l e ad e r i n Ve n ic e t o th e e n d o f his lo n g l if e an d th oug h havi n g ,

f e w sc h ol ars o f imp o rta n c e h is i n fl u e n c e was spr e ad t hr ough

all N o rth Italia n pai n ti n g .

T aki n g him fo r all i n all p e rh aps it is n o t t oo much t o say

,

t h at h e was th e gr e at e st pai n t e r k n o wn t o hist o ry If it .

w e r e possibl e t o d e scrib e that g r e at n e ss in o n e w o rd that ,

w o rd w o u ld b e un iv e rsality
“
H e saw a n d pai n t e d that
.

whic h was u n iv e r sa l i n its trut h T h e l o cal a n d particul a r

.
,

t h e small a n d t h e accid e n tal w e r e pass e d ov e r f o r th o s e gr e at

,

t r uths which b e l o n g t o all th e w o r l d o f l if e I n this r e sp e ct h e .

was a v e ritab l e S hak e sp e ar e wit h al l th e calm n e ss a n d r ep o se

,

of o n e w h o o v e rl oo k e d th e w o rld fr o m a l o fty h e ight .

T h e r e stf ul n e ss a n d e asy str e n gt h of T itia n w e r e n o t cha r

'

a c t e r i st i cs o f h is f o ll o w e r Ti n to r e tt o (1 5 1 8 H e was
fr e q u e ntly vi o l e n t h e adl o n g im pulsiv e m o r e imp e tu o us tha n
, , ,

M ich e la n g e l o a n d i n s o m e r e sp e cts a str o n g r e mi n d e r o f h im

, .

H e h ad n o t M ich e la n g e l o s aust e rity a n d th e r e was mo r e

’
,

clash a n d tum u l t a n d fire ab o u t him but h e had a c o mman d ,

of li n e lik e th e Fl o r e n ti n e a n d a way of h u rli ng t h i n gs as

, ,

s e e n in th e Fall o f th e D am n e d t h at r e mi n ds o n e o f th e L ast
,

J udgm e n t of th e S isti n e It w a s rath e r h is aim to combi n e

.

t h e li n e o f M ic h e la n g e l o a n d t h e c o l o r of T itia n o r at l e a s t ,
1 34 I
H STO R Y O F PA N T N G I I
th u n d e rb olt styl e is m o d e r at e d by w o n d e rf u l grac e str e n gt h ,

o f m o d e lli n g s u p e rb c o n trasts o f light wit h sh ad e a n d a

, ,

c o l o ri n g of fl e sh a n d r ob e s n o t u n w o rthy o f th e v e ry gr e at e st .

H e was a m a n w h o w o rk e d i n th e whit e h e at o f passi o n wit h ,

m u ch imagi n ati on a n d i n ve n ti o n A s a t e c h n icia n h e s o u g h t.

d iffi cul ti e s r ath e r than av o id e d t h e m T h e r e is s om e a n tag .

o n i sm b e tw e e n f o rm a n d c o l o r b u t T i n t o r e tt o tri e d to r e c o n cil e
,

t h e m T h e r e sul t w a s som e tim e s clashi n g but n o o n e c o uld

.
,

h av e d on e b e tt e r wit h t h e m t h an h e did H e was a fin e .

draftsman a g oo d col o rist a mast e r of light a n d a facil e

, , ,
-

br u shma n i n sh o rt a mast e r o f th e pai n t e r s craft ’

.

P a o l o V e r on e s e (1 5 2 8 th e f o ur th g r e at Ve n e tia n ,

did n o t f o ll o w th e li n e di r e cti o n se t by T i n t o r e tt o b u t carri e d ,

o u t t h e o rigi n al c o lo r l e a n i n g of t h e sc h oo l
-
H e cam e a l ittl e .

lat e r than T i n t o r e tt o a n d h is art w a s a f o r e tast e o f th e a dv an

,

ci n g R e n aissan c e wh e r e i n simplicity was d e st in e d to l o s e its e lf

,

i n c o mpl e xity g r a n d e u r a n d display

,
Pa o l o cam e o n t h e
,
.

v e ry cr e st o f th e R e n aissa n c e wav e wh e n art ris e n to its , ,

gr e at e st h e ig h t w a s gl e ami n g i n t h at tra n spa r e n t spl e n d o r

,

that pr e c e d e s th e fall .

T h e gr e at b u lk o f h is w o rk h ad a l a r g e d e c o rativ e
m o tiv e b e hi n d it A lm o st all o f th e lat e Ve n e tia n work
.

was o f that c h aract e r H e n c e it w as brillia n t i n c o l o r

.
,

e lab o rat e i n subj e ct a n d gra n d i n scal e

,
S pl e n did r ob e s .
,

h a ngi n gs fur n itur e archit e ct u r e j e w e ls a r m o r app e a r e d

, , , , ,

e v e rywh e r e .A n d n o t i n flat l u str e l e ss h u e s but with that

, ,

r e li e f a n d b ril lia n cy whic h t h e y p o ss e ss i n n at u r e D r ap e ry .

gav e w ay t o cl o thi n g a n d t e xtur e pai n ti n g w a s i n tr o

,
-

d u c e d e v e n i n t h e larg e st ca n vas e s S c e n e s f r o m S criptur e .

a n d l e g e n d t u r n e d i n t o gra n d pa g e a n ts o f Ve n e t i a n spl e n d o r ,

a n d t h e facial e xpr e ssi o n o f t h e c haract e rs rath e r pass e d o u t

i n fav o r o f t e lli n g mass e s o f c o l o r t o b e s e e n at a dista n c e u po n

wall o r c e ili ng I t w a s p o mp a n d g l o ry carri e d to th e h ig h e st
.

pitc h b u t wit h all s e r i o us n e ss o f m oo d a n d trut h f u l n e ss in

,
 I TA LIA N I
PA NT NG I I 35

a r t It was b eyo n d T itia n in va r i e ty r ic h n e ss o rn am en t

.
, , ,

facility ; but it was p e r h aps b e l ow T itia n in s e n tim e n t ,

s ob r i e ty a n d d ept h o f in sig h t T itia n wit h all h is s e n s u o us

,
.
,

b e auty did app e al to th e h ig h e r i n t e llig e n c e w h i l e Pa o l o

, ,

a n d his c o mpa n i o n s

l u xurious c olo r s e tti -

mag n ific e n c e o f i n v en ti on T h e .

d e cad e n c e cam e a f but n o t wit h h im His a r t was .

FI G . 62 —
. V E R O NE S E (S CH O O L OF) . IN DU Y D
S TR . U CA LPL A A CE , V E NI C E .

th e most gorg e o us o f th e Ve n e tian sc h oo l a n d by ma ny is ,

r an k e d th e hig h e st of a ll but p e r h aps it is b e tt e r to say it

,

w a s th e h e ight T h o s e w h o cam e aft e r b r o ug h t ab o ut th e

.

d e c l i n e by strivin g to imitat e h is bril l ia n cy an d th e r eby fall i n g ,

i n t o e xt r avaga n c e .

T h e s e w e re t h e f o u r gr e at Ve n e tia n s th e m e n of fi r s t r a nk .

Be sid e t h e m an d a r o u n d t h e m w e r e ma n y o th e r pai n t e r s ,

p l ac e d in th e s e c o n d ran k w h o in an y ot h e r t i m e o r c i ty wo u l d
,

h av e h e l d fi r st p l ac e Pa lm a i l V e c ch i o
. 1 5 2 8 ) was so
—
1 3 6 I
H S TO R Y O F PA N T N GI I
e xc e l l en t i n ma n y wa y s t h at it s ee ms u n just to sp e a k of h im
as a se c o n d ra n k pa i n t e r H e w as n o t h ow e v e r a gr e at
-
.
, ,

o rigi n al mi n d tho u gh i n ma n y r e sp e cts a p e rfe ct pai n t e r

, .

H e was i n fl u e n c e d by Be lli n i at first a n d th e n by G i o rgi o n e , .

I n s u bj e ct th e r e w a s n o thi n g dramatic ab o u t h im a n d h e ,

ca r ri e s chi e fly by h is p o r t r ayal o f qui e t dig n ifi e d an d b e au , ,

tiful Ve n e tia n s u n d e r th e n am e s o f sai n ts a n d h oly famil i e s .

T h e S t Barba r a is a n e xampl e o f t h is a n d o n e o f t h e most

.
,

FI G . 63 . PL
A MA V E CCH I O . HO LY F M LY V
A I . E NI C E A C A D E MY .

maj e stic figur e s all pai n ti n g S e b asti a n o d e l Pi om b o

in .

( 4 5 5 4 7)
1 8 —
1 w a s a n o t h e r B e lli n i G i o rgi o n e f o ll
-
o w e r w h o lat e r ,

o n w e n t t o R o m e a n d f e l l u n d e r t h e sp e ll o f M ich e la n g e l o
,
.

I t is said t h at u n d e r M ich e la n g e l o s i n spirati o n h e tri e d t o ’

u n it e Fl o re n ti n e g r a n d e ur of li n e with Ve n e tia n c o l o ri n g an d
t h us o utd o R apha e l Th e att e mpt was n o t wh o lly s u cc e ssf ul
.
,

t h o u gh r e sulti n g in a n e xc e ll e n t quality of art His larg e r .

fig ur e c omp o siti o n s a r e h ow e v e r i n cli n e d to b e rh e t o rical a n d

, ,

acad emic A s a p o r t r ait pai n t e r h e was v e ry satisfact o ry

. .

His e arly w o rk was rath e r fr e e in ha n dli n g a n d warm in c ol o r ,

h is l at e r eff o r ts w e re sm o ot h of su r fac e an d a bit c ol d .

1 3 8 I
H ST O R Y O F PA NT N G I I
r e markabl e fo r vi o l e n t c o n trasts o f light an d dark genre ,

tr e atm en t o f sac r e d s u bj e cts i n th e o p e n air st ill lif e an d ,

-

a n imal pai n ti n g R o c c o M ar coni (fl 1 5 0 5 1 5 2 0) was o n e o f

. .
—

t h e O ld e r Ve n e tia n f o ll o w e rs o f Be lli n i w h o liv e d i n t o t h e lat e r

p e rio d an d p r oduc e d pictu r e s of Pa l ma Bo r do n e i n flu en c e s -

FI G . 64 — . B O RD 0N E . THE L O VE RS . B RE RA , L
MI A N .

pictu r e s ric h in c ol o r an d r at h e r
la n dscap e L i cin i o
fin e i n .

(1 5 2 0 1 5 44 ) a n d S chi avon e (1 5 2 2 1 5 8 2 ) w e r e o th e r pai n t e rs

— —

of th e sc h oo l f o llowi n g T itia n wit h som e skill o f th e i r ow n .

PA IN TI N G I N VE N E TIA N TE RR I T O RI E S " Ve n e tia n pai n t

i ng was n o t c o n fi n e d to Ve n ic e but e xt e n d e d t h r o ugh al l t h e

,

Ve n e tia n t e r rit o ri e s i n R e n aissa n c e tim e s a n d t h o s e who ,

l iv e d away fr o m th e city w e r e i n th e i r art o ft e n d e cid e dly

, ,

Ve n e tia n t h o u g h poss e ssi n g local c h a r act e ristics .

 I TA LIA N I
PA N T N G I 1 39

A t Br e scia S avol d o (1 4 80 ? a r at h e r sup er ficia l pai n t e r ,

fon d of w e i r d l ig h ts an d S h e en y d r ap e ri e s an d R om an i n o ,

FI G 65 - B A SSANO U RE S RRE C TI O N OF L Z
A A RU S
D MY V
. . .
.

A CA E , E NI C E .

(1 4 8 5 ? a f o ll o w e r o f G i o rgi on e good ,
in compositi on
but un e qua l an d ca r e l e ss in e x e c u tio n w e r e , t h e e arli e st o f
th e Hig h R e n aissa n c e m e n M or e tto (1 4 9 8 ?.
—
1 55 4 ) w a s t h e
1 40 I
H STO R Y O F PA N T N G I I
str o n g e st a n d m o st o ri g i n al a m a n o f i n dividuality a n d p ow e r, ,

r e markabl e t e c h n ically fo r his d e licacy a n d u n ity o f c o l o r u n d e r

a v e i l o f S i l v e ry t o n e I n c omp o sit io n h e w a s d ig n ifi e d a n d
.

n ob l e a n d i n b ru s h w o rk simpl e a n d dir e ct
,
-
O n e o f th e .

gr e at pai n t e rs o f th e tim e h e s e e m e d to sta n d m o r e apart ,

f r om Ve n e tia n i n flu e n c e tha n a n y o t h e r o n Ve n e tia n t e rrit o ry .

H e l e ft o n e r e markabl e p u pil M o r oni (fl 1 5 4 9 wh o s e ,

.

p o rtraits a r e to day g r e atly a dm ir e d for th ei r m o d e r n spirit

—

a n d tr e atm e n t .

A t Ve ro n a i n t h e tim e o f C ar o to cam e To r b i d o (1 4 8 6 ?
, ,

a vacillati n g pa in t e r i n fl u en c e d by L ib e ral e da Ve r on a , ,

G i o rgi on e Bo n ifa zi o Ve r o n e s e a n d lat e r e v e n by G i ul i o

, .
, , ,

R oma n o H e did s om e good p o rtraits aft e r th e G i o rgi o n e

.

styl e C ava zzo la (1 4 8 6 1 5 2 2 ) w a s m o r e o rigi n al a n d a m an

.
—
,

o f tal e n t A littl e lat e r app e ar e d B r u sas or ci (1 4 9 4 1 5 6 7 )

.
—

a n d A n t oni o B a di l e (1 5 1 7 bot h o f wh om h ad a d e cid e d

i n flu e n c e in fo rmi n g th e style o f Pa ol o Ve r on e s e
’

T h e r e w e re n umb e r s of o th e r pai n t e r s scatt e r e d all t h r o ug h

t h e Ve n e tia n p r o vi n c e s at this tim e but th e y w e r e n o t o f t h e ,

first o r e v e n th e s e co n d ra n k an d h e n c e cal l for n o m e n ti on

, ,

he re .

E XTA N T l s t s f pai t rs w rks t t h r f r

W O RK S " Fo r i o n e
’
o no e e e e e n ce

a t th d f Ch ap t r V Pi tur s by th g r a t V t ia s
e en o e f u d
. c e e e e ne n a re o n in
al m s t v ry publ i g all ry i E ur p M a y f th i r mas t rp i s
o e e c e n o e . n o e e e ce a re

s till t b s i V tia hur h s pal a s d mus ums

o e ee n n e ne n C c e ,
ce ,
an e .
1 4 2 I
H S TO R Y I I
O F PA N T N G

r ac e im p u ls e whic h s e e ms n e c e ssary to th e maki n g o f e v e ry

-

gr e at art w as e xha u st e d Fo r t h e m e n that cam e imm e diat e ly

.

aft e r M ich e la n g e l o a n d T i n t o r e tt o t h e r e w a s practically n o th

i ng A bo u t all t h e y c o uld d o was to r e p e at w h at o t h e rs had
.

sai d o r to r e c o mbi n e th e old t h oug h ts a n d fo rms T his le d

, .

i n e vita bly t o imitati o n ,

o v e r r e fin e m e n t of styl e -

and m e tho d a n d c o n ,

sci o u s st u dy o f b e auty
r e sulti ng i n ma n n e rism
an d a ff e ctati o n S u ch .

qualiti e s mark e d th e art

of thos e pa i n t e rs w h o
cam e i n th e latt e r part
o f t h e sixt e e n t h c e n t u ry

a n d t h e first o f t h e s e v e n

t e e n th T h ey w e re u n .

f o rtu n at e m e n i n th e
tim e o f th e i r birt h .

N o pai n t e r c o u ld have
b e e n gr e at in th e s ev e n
t e e n t h c e n tury o f Italy .

A r t lay pr o n e u p on its
fac e a n d t h e lat e m e n ,

w e r e l eft u p o n th e ba rr e n
FI G 66 B Z — D UFF Z sa n ds by t h e r e c e di ng
RO N I N O CH RIS T I N H A ES I I

FL
. . . .

O RE NC E .

w av e of t h e R e n aissa n c e .

A RT M O TI VE S A N D S UB J E C TS " A s b e fo r e t h e chi e f sub ,

je c t of t h e a r t of t h e D e cad e n c e was r e l igio n wit h ma ny ,

h ug e al tar p ie c e s a n d ma n y h e ads an d b u sts o f t h e M ado nn a

-
, ,

th o ug h n atu r e a n d t h e classic stil l play e d t h e i r pa r ts A ft e r .

t h e R e formati o n at t h e N o r th t h e C hurc h i n Italy start e d t h e

C o u n t e r R e f o rmatio n
-
O n e o f t h e c h i e f m e a n s e mploy e d
.

by t h is C at h olic r e acti o n i n Italy w as t h e emb e ll ish m en t of

 ITA LI A N I
PA N T N G I 1 43

Ch u r c h w o r sh ip an d pai n ti n g o n a la r g e sca l e o n pa n e l r at h e r
, ,

m o r e t h an in f re sc o was d e man d e d fo r d e c o rativ e pu rpos e s

, .

B u t t h e r e ligio u s m o tiv e h ad pass e d o u t t h oug h its subj e ct ,

was r e tai n e d a n d th e picto r ial motiv e h ad r e ach e d its c l imax

,

at Ve n ic e T h e fait h o f th e on e a n d th e tast e a n d skil l of th e

.

o th e r w e r e n o t attai n abl e by t h e lat e m e n a n d w h il e con , ,

sc i o u sly st r ivi n g t o ac h i e v e th e m th e y f ell i n t o e xagg e r at e d

,

s e n tim e n t a n d t e ch n ical w e akn e ss It s e e ms p e r f e ctl y appar .

e n t i n th e i r works t h at t h e y h ad littl e o r n o t h i n g o f t h e i r ow n

t o say a n d t h at th e y w e r e tryi n g t o say ov e r agai n w h at

,

M ich e la n g e lo C o r r e ggi o a n d T itian h ad said b e f o r e t h e m

, ,

much b e tt e r T h e r e w e r e e a rn e st m en a n d g oo d pain t e r s
.

am on g th em but t h ey s e e m e d t o p r o duc e on ly th e e mpty

,

f o rm of art T h e spi r it h ad fle d
. .

TH E M A NN E RI S TS " Imm e diat e ly aft e r t h e Hig h R e n ais

sa n c e l e ad e rs at Fl o r e n c e an d R o m e cam e th e i m itators an d
e xagg e r at o rs of th e i r styl e s T h e y p r o duc e d l a rg e cr o w d e d
.
,

ca n vas e s wit h a hasty facility o f th e b r ush a n d o ft e n strik i n g

, ,

e ff e cts o f c o mp o siti o n S e e ki n g t h e g r a n d t h e y o v e r s h ot
.

t h e t e mp e rat e T h e ir e l e ga n c e was a ff e ct e d t h e i r s e n tim e n t

.
,

fo r c e d th e ir brillian cy sup e r ficial glitt e r VViI en t h e y t h o ug h t

"

.
,

to b e id e al t h e y l o st th e mse lv e s in i n c o mpr eh e n sibl e all e

g o r i e s ; w h e n t h e y th o ught t o b e r e al t h e y g r e w p r o saic i n d e

tail T h e se m e n ar e kn own in art h ist o r y as th e M a nn e rists

.
,

a n d t h e m e n wh o s e w o rks t h e y imitat e d w e r e chi e fl y R apha e l ,

M ic h e la n g e l o a n d C o rr e ggi o T h e r e w e r e ma n y o f th e m
,
.
,

a n d s o m e of t h e m h av e a lr e ady b e e n sp o k e n of as t h e f o ll ow e r s

of M ich e l a n g e l o .

B r on zin o (1 5 0 2 ? 1 5 7 2 ) was a pupi l of Po n to r mo a n d a n

—
,

imitat or of M ic h e lan g e l o pai n ti n g in r ath e r h e avy c ol o rs

,

with a thi n br u sh His cha r act e rs w e r e l a rg e but n e v e r

.
,

quit e f r e e fr o m w e ak n e ss e xc ept in p o rtraitur e w h er e h e

, ,

app e ar e d at his b e st Va s a r i (1 5 1 1 1 5 74 )
. t h e sam e Vasa r i
—

w h o w r ot e th e L i ves of th e pai n t e r s h ad v e rsati l ity a n d

—
1 44 I
H S TO R Y O F PA NT N G I I
fac ility but his s u p e rficial imitati o n s o f M ich el a ng e l o w e r e
,

t oo g ra n di o s e i n c o n c e pti o n a n d t oo palpabl y e xagg e rat e d i n

m o d e lli n g S alvi ati (1 5 1 0 1 5 6 3 ) w a s a fri e n d o f Vasari a
.
—
,

pai n t e r o f ab o u t th e sam e cast of mi n d a n d ha n d as Vasari ,

a n d F e d e ri g o Z u c c ar o (1 5 4 3 1 6 09) b e l o n gs with th e m i n—

pr o duci ng t h i n gs muscula r ly big but i n t e ll e ctually small .

S om e o f Z ucca r o s sma l
’

le r pict u r e s a n d h is
p o r traits are o f b e tt e r
quality Bar occi o (1 5 2 8 .

th o u g h class e d
am on g th e M a n n e rists as
a n imitat o r o f C o r r e ggi o

a n d R ap h a e l was r e ally ,

o n e of th e s u p e ri o r m e n

of th e lat e tim e s T h e r e .

w e r e aff e ctatio n an d
s e n tim e n tality ab o u t h is
w o rk a pr e tti n e ss o f ,

fac e r osy fl e sh ti n ts an d , ,

a g en e r al light n e ss o f
c o lor b u t h e was a go o d ,

draftsma n a n d c o l o rist ,

and at tim e s a m a n of , ,

e ar n e st n e ss and p owe r .

FI G 67. .D L"
VLANIE ED DA F O
H IS
TE RRA
CO lO I
.
an d
E S CE NT
br u s h RO M
‘

C RO S S .
w o rk h ad a d e cid e d in
RO M E .

flu e n c e up o n R ub e n s .

TH E E C L E C TI C S " A ft e r t h e M a n n e rists cam e th e E cl e ctics

o f Bo l o g n a le d by t h e C aracci w h o lat e i n t h e sixt e e n t h

, , ,

c e n t u ry so ught t o r e viv e art T h e y sta r t e d o u t t o c o rr e ct

,
”
.

t h e fa u lts o f t h e M a n n e rists a n d y e t th e ir o w n art was bas e d

,

m o r e o n t h e art of th ei r gr e at pr e d e c e sso r s than o n n atur e .

T h e y thought t o mak e a u n i o n of R en aissa n c e e xc e ll e n c e s by

1 46 I
H S TO R Y O F PA N T N G I I
D o m e ni chi n o is c o u n t e d am o n g t h ei r fo llowe rs
(1 5 8 1 —
1 64 1 ) .

H is S t J e r o m e was rat e d by Po u ssi n as o n e of th e thr e e

.

gr e at pai n ti n g s o f th e w o rld b u t it n e v e r d e s e r v e d s u ch ,

ra n k It is w e ll c o mp o s e d b u t po o r i n c o l o ri n g a n d
.
,

ha n dl i ng T h e pai n t e r had gr e at r ep u t e i n his tim e an d was

.
,

o n e o f t h e b e st o f t h e s e v e n t e e n t h c e n t u ry m e n G ui d o R e n i .

(1 5 7 5 1 6 4 2 ) w a s a pai n t e r o f ma n y gifts a n d acc omplishm e n ts

—
,

c o mbi n e d with ma n y w e ak n e ss e s His w o rks a r e w e ll c o m .

p o s e d a n d S h o w i n v e n tiv e p ow e r but a re e xc e ssiv e in s e n ti

m e n t a n d o v e r d o n e i n path o s A l b an i (1 5 7 8 1 6 6 0) ra n to .
—

e l e ga n c e a n d a p o rc e lai n l i k e surfac e that p r e t t ifie s his w o rk

—
.

G u e r ci n o (1 5 9 1 1 6 6 6 ) was o rigi n ally o f t h e E cl e ctic S c h oo l at

—

B o l og n a b u t lat e r to o k u p with t h e m e th o ds o f t he N a tu r a l
,

i st s . H e was a pai n t e r o f fa r mo r e tha n th e av e r ag e abil ity

a n d o ft e n did f o r c e f u l pictu r e s .

S a s s o f e rrat o (1 6 0 5 1 6 8 5 ) a n d C a rl o D o l ci (1 6 1 6 1 6 8 6 )
— —

cam e lat e a n d w e r e m o r e alli e d wit h t h e Ro ma n tha n t h e

Bo l og n e s e sc h o o l T h e y w e r e so sup e r satu r at e d with s e n ti
.

m e n tal i ty that o ft e n th eir skill as pai n t e r s is o v e r l ook e d o r

’

f o rgo tt e n I n spirit th e y w e r e ab o u t t h e w e ak e st of th e
.

c e n t u ry T h e y had ma n y c o n t e mp o rari e s at Ro m e such as

.

C r i st o fa n o A l l o ri (1 5 7 7 a n e xc epti o n ally str o n g m a n f o r

t h e tim e a n d B e rr e tti n i (1 5 9 6
,
a n d M a r a tt a (1 6 2 5

w h o ma n u fact u r e d a facil e ki n d o f pai n ti n g fr o m what

w as attractiv e i n t h e vari o us sch oo ls b u t th e ir w o rk w a s n e v e r ,

g oo d w o rk sav e i n p o rtraitur e T h e r e w e r e o th e r sc h oo l s .

start e d t o r e viv e art th r ou gh o u t Italy at M ila n C r e mo n a

”
, ,

Fe rrara b u t th e y pr o duc e d littl e wo r t h r e c o r di ng A r t

— .

c ou ld n o t b e r e viv e d .
”

TH E N A TURA LI S TS " A t t h e tim e o f t h e E c l e ctics at Bol og n a

th e r e spra n g u p t h e sch o o l o f th e N at u ralist s at R om e a n d

N apl e s le d b y C arava gg i o (1 5 6 9 1 6 0 9 ) a n d his pupils
,
T hese —
.

sch o ols O pp o s e d e a c h o th e r a n d y e t i n fl u e n c e d e ach o t h e r ,

.

E sp e cially w as this tr u e w i th t h e l at e r m e n w h o t oo k w h at ,
 ITA LIA N I
PA N T N G I 1 47

was b e st in bot h sc hoo ls T h e N atu r alists w e r e p e r h aps.

, ,

m o r e fi r mly base d u p on n atu r e t h a n th e Bo log n e se E c l e ctics .

T h e ir aim was to tak e n atur e as th e y fou n d it a n d y e t i n , ,

c on fo rmity wit h th e ext r avagan c e of th e age t h ey d e pict e d ,

FI G . 69 . A LL O RI . JUDI TH . P I TTI , FL O RE N CE .

e xt r avagan t n atu r e C a r avaggio t h oug h t to r e p r e sen t sac r e d

.

sc e n e s m Of é t f u th fully by taki n g h is mod e ls f r om th e h a r sh

'
T ’
‘

st r e e t life ab ou t h im an d givi n g typ e s o f sai n ts a n d ap o stl e s

’

fr om brawl er s an d ba n dits It was a br u tal c o a rs e r ep re sen

.
,

t a t i on r at h e r fie I Cte in mood a n d imp e tu o us i n acti o n y e t

/

, ,

n o t wit h o u t a g o od d e a l o f tragic pow e r His subj e cts w e r e .

 1 4 8 I
H S TO R Y I
O F PA N T N G I
rat h e r dismal o r m o r o s e b u t t h e r e was k n owl edg e i n th e
,

drawi n g o f th e m so m e g oo d c o l o r a n d brush wo rk a n d a
,
-

p e c u lia r dark n e ss o f shad o w mass e s (o rigi n ally gai n e d fr o m

G i o rgi o n e ) that st o o d as a n e armark o f t h e w h o l e sc h oo l
, .

Fr om t h e c o n ti n u o u s u se o f black S had o ws t h e sch o o l g o t

t h e n am e o f t h e D arkli n gs
“
by w h ich th e y a r e still k n ow n
, .

G i o r d a n o (1 6 3 2 a pai n t e r o f pr o digio us facility a n d

in v e n ti o n S alvat o r R o sa (1 6 1 5
, b e st k n own as on e o f
t h e e arly pai n t e rs o f la n dscap e V a l e n ti n (1 6 00 1 6 34 ) a pai n t e r
,
—
,

b o r n i n Fr a n c e but a f o ll ow e r of C aravagg i o a n d R ib e ra a , ,

S pa n is h pai n t e r w e r e t h e pri n cipal pai n t e r s o f th e sch o o l

, .

TH E LATE VE NE TIA N S " T h e D e cad e n c e at Ve n ic e l ik e

,

th e R e n aissa n c e cam e lat e r tha n at Flor e n c e b u t aft e r t h e

, ,

d e at h o f T i n t o r e tt o ma n n e risms a n d th e imitati o n o f th e gr e at
m e n did away wit h o rigi n ality T h e r e w as still muc h c ol o r
.

l e ft a n d fin e c e ili n g d e co rati on s w e r e d on e b u t th e n obility

, ,

a n d calm spl e n d o r o f T itia n s e arly days had pass e d P alma

’
.

i l G i ovi n e (1 5 4 4 1 6 2 8 ) with a hasty brus h p r o duc e d imita

—

ti on s of T i n t o r e tt o with s om e grac e a n d f o rc e a n d in r e mark ,

abl e qua n tity H e a n d T i n t o r e tt o w e r e th e m o st rapid a n d

.

pr o d u ctiv e pai n t e rs o f t h e c e n t u ry ; but Palma s w o rk w a s ’

n o t g oo d i n spirit th o ugh q u it e dashi n g in m e th o d P a d o

,
.

va ni n o (1 5 9 0 1 6 5 0) w a s a T itian f oll ow e r an d lik e all t h e

—
, ,

oth e r pai n t e rs o f th e tim e h e w a s pr ofici e n t with th e br u sh

,

b u t lacki n g i n th e st r o n g e r m e n tal e l e m e n ts Pi a zz e tta (1 6 8 2 .

1 75 4 ) w a s i n flu e n c e d by G u e rci n o a n d was a pai n t e r o f i h

flu e n c e a n d disti n cti on T h e last gr e at Ve n e tia n pai n t e r

.
,

h ow ev e r w a s Pi azze t t a s you n g e r co n t emp or ary Ti e p ol o (1 6 9 6

,
’
,

a n d h e was r e ally gr e at b e y o n d his ag e W ith a n art .

i n flu e n c e d by Pia zze tta b u t f o u n d e d o n Pa o l o Ve r o n e s e h e ,

pr o duc e d d e c o rativ e c e ili n gs a n d pa n e ls o f high q u ality with ,

w o n d e rf u l i n v e n ti on a limpid br u sh a n d a light flaky c o l o r

, ,

p e c u l iarly appr opriat e t o th e walls o f ch u r c h e s a n d pala c e s .

H e was e sp e cially i n e as e l pi c t u r e s a brillia n t vivaci o us

, , ,
1 5 0 I
H S TO R Y O F PA NT N G I I
G u a r di was p e rhaps th e b e tt e r c o lo r ist o f th e two but C an a
le t to s n eph e w B e ll ott o (1 7 2 0 g e n e rally l e ft u n m e n tio n e d
’

i n art hist o ri e s w as by far t h e str o n g e st pai n t e r o f th e g ro up

,
.

His pict ur e s a re us u ally c o a r se e sp e cially t h o s e at D r e sd en

, ,

but at th e Vi en n a G all e ry h e r is e s to a g r e at h e igh t in a n asto n

i sh i ng s e ri e s o f l a r g e pictu r e s L on g h i (1 70 2 . a gen re

FI G .
7I .
— TI E PL
O O . CA LV YAR . S . A LV ISE , V E N IC E .

pai n t e r o f fashi on abl e f o lk in lat e r Ve n ic e c om e s i n h e r e H e ,

.

is just n ow p opular b u t w as n e v e r f o r c e f u l .

M O D ER N PA I N TI N G I N I TA LY " T h e r e is litt l e i n th e art

o f Italy duri n g r e c e n t tim e s that sh o ws a p o sitiv e n atio n al

spirit It has b e e n l e a n i ng o n t h e r e st o f E ur op e for m an y

'

y e ars a n d th e b e st that th e livi n g pai n t e rs S h ow is l arg e ly

,

a n e ch o of D u ss e l d o r f M u n ic h o r Pa r is
,
T h e r e viv e d c l as
,
.
 ITA LIAN I
PA N T N G I 1 5 1

S I CI sm of D avid i n Fr a n c e
i t t h c en tu r y pai n ti n g a ff e ct e d n n e ee n -

in Italy s o m ewhat T h e r e actio n o f R oma n ticism als o f o u n d

.

its r e fl e ctio n A ft e r wa r d pain tin g was sway e d by C o r n e lius

.

a n d O v e r b e ck f r o m G e r ma n y M or e lli (1 8 2 6 1 9 0 1 ) sh ows —
.

thi s l att e r i n flu en c e though h e was also i n flu e n c e d by

,

For tu n y H e w as th e h e ad of th e M o d e r n N e ap ol ita n
.

S c h oo l I n th e 1 8 7 0 s M aria n o For tu ny a S pa n ia r d at
" ’
.
,

R om e le d t h e y o u n g e r e l e m e n t i n th e glitt e r i n g a n d th e
,

S pa r kli n g a n d this styl e m in gl e d wit h much that is mo r e

, ,

st r ikin gly Pa r isian than Italia n may b e fo u n d in th e works ,

FI G .
72 .
— SE G A N TI NI . PL UG G
O HI N .

of pai n t e rs l ik e M i ch e tti a pupil of M o r el li d e v o t e d t o lig h t

, ,

a n d gay co lor D e N i tti s w h o work e d m u ch i n Paris F avr e tto

, , ,

a b ril lia n t pain t e r o f Ve n e tian gen re in th e styl e of G uardi

w h o was a l s o i n flu e n c e d by Fo r t u n y Ti to pai n ti n g Ve n e tia n .
,

gi r ls wit h N on o Vin e a S i m on e tti all S h ow th e mod e r n

, , , ,

i n flue n c e s of e ith e r R om e or Paris ch i e fly Paris .

O f l at e r days t h e impr e ssio n istic V i e w o f light a n d c o l o r

h as h ad its i n flu e n c e ; b u t th e Ital ia n w o r k at its b e st is b el ow
t h at of Fr an c e S e g an ti m J 1 8 5 8 1 8 9 9 ) w a s o n e o f th e m o st
.
—

r emarkab l e of th e youn g e r m e n in subj e cts that h av e a B ockl i n

ai r about t h em m ix e d with th e stu rdy s implicity of M i ll e t
,

an d t h e o p e n ai r lig h t o f M o n e t
-
H e liv e d i n t h e A lps pai n t e d .
,

S ee S cr i bn er
’
s M aga zi n e , N e ap o li t a n A r t, D ec .
,
1 8 9 0 , Fe b .
,
1 89 1 .
1 5 2 I
H STO R Y O F PA NT N G I I
th e p e asa n t r y th e r e a n d di e d y o u n g l e avi ng som e pictu r e s
,

o f g r e at si n c e rity tr u th f o rc e a n d c o l o r
, ,
B ol d i ni t h o u g h
,
.
,

Italia n bor n a n d o rig i n ally f oll o wi ng Fo r tu ny s e xampl e is ’

r e ally m o r e Parisia n tha n a n ythi n g e ls e H e is a n artist .

o f m u ch t e c h n ical str e n gth i n gen r e s u bj e cts a n d portraits .

T h e m o r e r e c e n t m e n a re Fr a g i oc om o Fa tt o r i M an cin i , , ,

M a r c h e tti .

E XTA NT W O RKS " F li s t s f pa i t r s p i t r s t t h

or f o n e
’
c u e no e e re

r
e e n ce a t t h d f C h ap t r V Pi tur s f t h D a d
e en o e . sh w c e o e ec e n ce a r e o n

i
n a l m s t v ry g a ll ry f I t a ly T h w r ks f t h m d r m
o e e e o . e o o e o e n en

c h a g ha d s t
n e n ft f
oo om ti h r O l y t h m s t t a l t d f
en or en on e e . n e o en e o

th e li vi g p i t r s
n r f rr d t
a n e a re e e e o .
1 54 I
H S TO R Y O F PA N T N GI I
vagu e a n d is o ft e n c o n fus e d by p o sit i v e asse r tio n s t h at lack
f o u n dati o n i n fact It s e e ms pr obabl e that w o r k of th e R oma n
.

fr e sc o ki n d w a s us e d i n th e first c e n t u ri e s T h e n cam e th e .

i n flu e n c e o f By za n ti n e art sh owi n g as e arly as t h e e ight h

c e n tury in mi n iat u r e s illumi n ati on s a n d fr e sc o Half ob
, ,
.

l it e rat e d fr e sc o s i n t h e ch u rc h e s n e ar Po iti e rs a n d e ls ewh e r e

S h o w By z a n ti n e typ e s a n d patt e r n s giv e n with c o ars e drawi n g
, ,

stiff attit u d e s dark o u tli n e ba n ds an d r ath e r vi o l e n t c o l o rs

, , .

S imilar patt e r n s a n d typ e s a r e pr e s e r v e d i n missal ill u mi n ati o n s

a n d l e av e n o t t h e slig h t e st d o u bt of t h e i n fl u e n c e o f By z a n ti n e

art at that tim e I n th e thirt e e n th c e n t ury glass pai n ti n g

.

i n t h e ch ur c h e s a n d e ls e wh e r e h ad b e c o m e a p e c u l i arly n ati o n al
craft T ra n spar e n t wi n dows i n th e c hu rch e s t old th e Bibl e
.

st o ry b e tt e r than fr e sc o s o n th e wall a n d th e latt e r b e ga n t o

disapp e a r T h e wi n d ow patt e r n s a n d typ e s w e r e at first
.

By za n ti n e b u t i n th e fourt e e n th c e n t u ry t h e figur e s b e cam e

m o r e r e alistic th e t e ch n iq u e m o r e e xact t h e drawi n g a n d
, ,

c o lori n g tru e r but th e d e c o rativ e e ff e ct w a s l e ss happy T h e

,
.

d e c o rativ e m o tiv e sh owi n g its elf n o t o n ly i n glass but i n

Ch u rch o r n am e n t garm e n ts f u r n it u r e mi n iat u r e s illumi n a
, , , ,

ti o n s had b e e n a str o n g f e at u r e fr om th e b e gi n n i n g .

I n t h e fift e e n th c e n tury t h e r e alistic t e n d e n cy o f t h e p r e

c e di n g tim e i n cr e as e d i n f o r c e N aturalistic e ff e cts w e r e
.

i n trod u c e d e v e rywh e r e Pai n ti n g e xpa n d e d in scal e pr ob

.
—

ably gr ew fr o m ill u mi n ati o n a n d glass pai n ti n g i n t o pa n e l

pai n ti n g i n t e mp e ra T h e g old ba c kg r ou n ds w e r e r e m ov e d
.

fr o m th e il lumi n atio n a n d f o r mal la n dscap e with plai n blu e

sky w as at first s u bstitut e d Po ssibly by s u ch gradual
.

cha n g e s as this th e r e alistic pa n e l w a s ev olv e d A t a ny rat e .

at th e tim e o f Ki n g R e n é (1 4 0 9 w h o is als o s u pp o s e d
t o hav e b e e n a pai n t e r o f s o m e n o t e t h e art o f di r e ct r e p re
,

s e n t a t i o n was w e ll u n d e r w a y a n d w e ll u n d e rst oo d R e ne .

is s u pp o s e d t o hav e g iv e n art a n imp e t u s which h e in t urn

may hav e r e c e iv e d f r o m bot h Italy a n d Fla n d e r s Th e r e .
 FR E N C H I
PA N T N G I 1 55

h ad b e e n Italia n in flu e n c e at A vig n on wh e n t h e Papacy was

t h e r e a n d R e n é s c o ur t was a half w ay h o u se b e tw e e n Italy
’
-

a n d F la n d e r s wh e r e wa n d e r i n g artists fr o m b o th c o u n tri e s

st opp e d en r ou te T h e qu e sti on s o f in flu en c e just h e r e

.

w h e t h e r th e e a r ly F r en ch pai n t e rs r e ally w e r e F r e n c h o r
wh e th e r th e y cam e f r o m o r w e r e i n fl u en c e d fr o m Italia n or
Fl e mis h sh ops ar e v e ry m u ch mo o t e d at t h e p r e s e n t tim e
—
.

S O littl e is p o sitiv e ly k n ow n t h at o n e ca n n o t b e arbit r ary i n

stat e m en t It is p r ob
.

ab l e h ow e v e r t h at t h e
, ,

e ar l y m e n w e r e F r e n c h

e n oug h b u t acc e pt e d
m e th o ds a n d i n fl u en c e s
fr om with o ut chi e fly an d
,

at first f r om Fla n d e r s
an d f r o m alli e d B u r
gun dyan d aft e r wa r d fr o m
Italy .

M a l ou e l , B e ll e ch os e ,
an d B r oe d e r lam ar e fif
t e e n th -c e n tu r y n am e s of
pai n t er s t h at ar e litt l e
m o r e than n am e s M a F UQ U
FI G —P OD ET ST S TE H EN A ND O N OR

K F D U U B L
. . .
,

A I S E R - R IE RI C H M SE M, ER IN
lou el (a supp o s e d u n cl e
.

of th e L im b ou rgs mi n iat ur ists) a n d Be lle ch o se h av e w o r ks

,

assign e d to t h e m i n t h e L o u vr e t h at sh ow half By z a n tin e -

d r awi n g an d simpl e pur e c o l o rs poss e ss e d o f d epth an d

b e auty T h e y wit h Br oe de rlam a r e s u pp o s e d to h av e
.

w o rk e d fo r th e D uk e s o f Burgun dy N i c ola s Fr om e n t .

adopt e d Fl emish n at ur alism with muc h vig o r an d eff e ct if w e

ca n b e li e v e h is p o r traits of Ki n g R e n é a n d J e a n n e d e L ava l

in th e L ouvr e J e an F ou qu e t (1 4 1 5 1 4 8 5 ) w e n t to Italy
.
—

a n d pr obably broug h t back som e Italia n ass imilatio n s His .

p o r t r ait o f J uv en al d es Ur sin s (L o u v r e) an d that o f C h arl e s

1 5 6 I
H S TO R Y O F PA NT N G I I
VI I ( o
L u v r e) discl o s e Italia n larg e n e ss br e adt h His a nd .

f oll ow e r J e a n B ou r d i ch on (fl 1 4 84 ) achi e v e d s u cc e ss as a.

m i n i at u rist pai n ti n g am o n g o th e r w o rks th e Bo o k o f H o urs o f

,

A n n e o f B ritta n y (Bibli o th equ e N ati o n al e ) A n o th e r m i n .

i a t u ri s t o f n o t e w a s M a r mi on (c 1 4 2 5 T w o pa n e ls n ow .
,

i n th e B e rli n g all e ry a r e att r ibut e d t o h im

, T h e y a re o f a .

v a n E yck quality as r e gards th e i r skil l a n d b e a u ty but dis

t i n c tly d i ff e r e n t fr om a n ythi n g Fl e mish Th e M ast e r o f .

M ou li n s (fl 1 4 8 3 1 5 2 9 ) i s t h e n am e giv e n to th e pai n t e r o f a
.
—

triptych i n th e M o uli n s cat h e d r al a n d s om e p o r traits i n t h e

L o uvr e a n d e ls ew h e r e H e is s u pp o s e d t o b e id e n tica l with
.

J e ha n Pe r r éal His w o rk i s g r ac e f u l p e r h aps soft e n e d by

.
,

Italia n i n flu e n c e b u t v e ry si n c e r e an d n o t wa n ti n g i n k n owl
,

e dg e . His p o rtraits ar e exc e ll e n t .

S I XTE E N TH C E N TUR Y PA I N TI N G " D u r i n g this c e n tu r y

-

Fr a ncis I at Fo n tai n ebl e au s e e ms t o hav e e n c o u r ag e d t w o

, ,

sch ools o f pai n ti n g o n e th e e xisti n g F r e n c h an d th e o t h e r a n

,

imp o rt e d Italia n wh ich aft e rward t o ok to its e lf th e n am e o f

,
”
S ch oo l o f Fo n tai n e bl e au O f t h e local artists th e
“
th e .

O l on e ts w e r e t h e m o st c o n spic u o u s T h e y w e r e o f Fl e mis h .

o rigi n a n d f o ll o w e d Fl e mish m eth o ds b o t h i n t e ch n iqu e a n d

,

m e di u ms T h e r e w e r e f o u r o f th e m o f wh om J e an (1 4 8 5 ?
.
,

a n d h is so n F ra n co i s (1 5 00 ? w e r e t h e m o st n o t e
w o rthy T h ey pai n t e d ma n y po r t r aits a n d Fr an go is w o rk
.
,
’

b e ari n g s om e pal e r e s e mbla n c e t o t h at o f H olb e i n t h e q u e s ,

t i o n ab le stat e m e n t has b e e n mad e that h e w a s a p u pil o f that

pai n t e r I n a S imila r v e i n w o rk e d C o r n e il l e d e L yon (fl c
. . .

All o f th e ir w o rk w as r e markabl e f o r d e tail a n d cl o s e ly

f oll o w e d fa c ts T h e i r p o rtraits in th e L o uvr e sh o w arist o
.

cratic sist e rs p o rtray e d simply sm oo thly e asily b u t with , , ,

much si n c e rity a n d vitality .

T h e Italia n imp o rtati o n cam e abo u t larg e ly thr o u g h t h e

i n itiativ e o f Fra n cis I H e i nvit e d t o Fo n tai n ebl e au L e o
.

n ard o da Vi n ci A n dr e a d e l S art o I l R O S S O Primaticcio a n d

, , , ,
1 5 8 I
H S TO R Y I
O F PA NT N G I
pictur e c oll ecti o n s I n th e fi r st part o f t h e c e n tu ry t h e
.

Fl e mish a n d n ativ e t e n d e n ci e s st i ll e xist e d C al l o t (1 5 93 .

1 6 3 5 ) a n d t h e thr e e b r o t h e rs L e N ai n w e r e d o i n g o rig i n al
.

a n d v e ry f o rc e ful w o rk o f t h e i r o w n ; b u t th e y w e r e o v e raw e d ,

o ut n umb e r e d by th o s e that e c h o e d Italy a n d t h e Italia n s .

N o t e v e n R ub e n s pai n ti n g fo r M a r i e d e M e dici i n t h e palac e

’ ’

o f t h e L ux e mb o u r g c o u ld st e m t h e tid e o f Italy T h e Fr e n c h .

pai n t e rs flock e d to R om e to study t h e a r t o f th e i r gr e at

pr e d e c e ssors a n d w e r e le d astray by th e flash y e l ega n c e o f
t h e l at e Italia n s .F r é mi n e t (1 5 6 7 1 6 1 9 ) sp e n t fift e e n y e ars i n
—

Italy studyi n g Pa r migia n i n o a n d M ich e la n g el o His w o rk .

h ad som e thi ng of th e M a nne r ist styl e abo u t it a n d was ovhr

wr o ught a n d e xagg e rat e d I n sh adows h e s e em e d t o h a v e
.

b orr ow e d f r om C a r avaggio Vou e t (1 5 9 0 1 6 4 9) was o n ly a

.
—

trifl e b e tt e r a st u d e n t i n Italy of Ve ro n e se s pai n ti n g

— ’

a n d aft e r w ard o f G u id o R e n i a n d C a r avaggi o H e w as a .

m e dio cr e artist b u t had a g r e at vogu e i n F ra n c e an d l e ft

,

ma ny c e l eb r at e d p u pils .

By all o dds t h e b e st pai n t e r of t h is tim e was N i co l a s Po u s s i n

(1 5 9 4 H e liv e d alm o st all o f his lif e i n R om e a n d ,

mig h t b e put down as an Italia n of th e D e cad e n c e H e w as .

w e ll v e r s e d i n classical a r ch aeol ogy a n d h ad m u c h o f t h e ,

cl assic tast e a n d f e e li n g pr e val en t at that tim e in th e R oma n

scho o l o f G iulio R o ma n o His work S how e d gr e at in t elli
.

g en c e an d h ad a n e l evat e d g r a n dil o q u en t styl e ab o u t it that

w as i m p r essiv e . It r e fl e ct e d n o t h i n g Fr e n c h an d h ad l ittl e ,

m o r e r oo t i n p r e s e n t h u man sympathy tha n th e o th e r pai n t

i ng of t h e tim e It w a s c old passi o n l e ss art b u t aft e r its
.
,

kin d w el l e n ough d on e T h e d r awi ng w as c o rr e ct if s ev e r e

.
,

t h e c ompositi o n ag r e e ab l e if f o r mal t h e c o l o ri n g vari egat e d ,

if V i ol e n t M a n y o f his pictu r e s h av e n ow cha n g e d for th e

.

w o rs e i n co l o ri n g owi n g t o th e dissipati o n o f s ur fac e pigm e n ts .

H e w as th e f o u n d e r o f th e classic a n d acad e mic i n Fr e n ch

a r t a n d in in flu e n c e w as th e most imp o r ta n t m a n o f th e cen
,
 FR E N C H I
PA N T N G I 1 59

tu r y H e was e sp e cially str on g in th e h e r oic l a n dscap e an d

.
,

i n t h is b r an c h h e lp e d f o r m th e r at h e r coa r s e styl e of h is
brot h er in l aw G asp ar d (D u gh e t) Pou s si n (1 6 1 3 1 6 7
— -
,
—

T h e l a n dscap e pai n t e r of th e p e r i o d how e v e r was C lau d e , ,

L o rr ai n (1 6 00 H e di ff e r e d fr o m Po ussi n in mak i ng
—
his pfaihe s d e p e n d m o r e s t rictly upo n l a n dscap e t h an up on
figu r e s W it h bot h pain t er s th e t r e e s m o u n tai n s vall e ys
.
, , , ,

FI G .
75 .
— MI G N AR D . HO P E . L UVO RE .

buil din gs figu r e s w e r e of th e g r a n d cl assic va r i e ty Hill s

, ,
.

a n d plai n s sylva n grov e s fl owin g st r e ams p e op l e d h a rbo r s

, , , ,

I on ic an d C o ri n thian t emp l e s R o ma n a q u e ducts m y th olog , ,

ical g r oups w e r e t h e mat e rials use d an d th e obj e ct o f t h e ir

, ,

u se was t o sugg e st t h e id e al dw e lli n g plac e of m a n th e - —

fo rm e r G a r d en o f th e G ods Pa n oramic an d S light l y t h e at.

r i c al at tim e s C laud e s w o r k was n o t wit h out its po e tic S id e

’

, ,

a n d s h ow e d c o n sid e rab l e k n o w l e dg e if o n ly a limit e d amou n t

1 60 H S TO R I Y I
O F PA NT N G I
of t e ch nical S kill H e was a l e ad e r i n l a n dscap e th e m an wh o
.
,

first pai n t e d r e al g o ld e n su n l ig h t a n d s h e d its ligh t upo n e a r t h .

T h e r e is a s o ft summ e r s day dr o wsi n e ss a gold e n ha z e o f

’
-
,

atm o sph e r e a f e e li ng o f c o mp o s u r e a n d r e stful n e ss ab o u t his

,

pictur e s L ik e Po ussi n h e d e p en d e d muc h upo n l o n g sw ee p

.

i ng li n e s i n c o mp o siti o n a n d up o n eff e cts o f li n e a r p e r sp e ctiv e

, .

H e was n o t str o n g as a draftsma n a n d h is pai n ti ng w a s timid

a n d thi n .

C O URT PA IN TI N G " W h e n L o uis XI V cam e to t h e thr o n e

pai n ti n g t oo k o n a d e cid e d charact e r but it was o n ly s u p e r ,

fic i ally a n ati on al or rac e cha r act e r I n m e thod t h e Fr e n c h .

pai n t e rs f o ll ow e d th e Bo l o g n e s e a n d Roma n s a n d imitat e d ,

a n imitati o n ; i n matt e r th e y b o w e d t o t h e dictat e s o f t h e

c o u rt an d r e fl e ct e d t h e ki n g s b o mbastic S pirit E ch oi n g th e ’
.

c o u rt fashi o n o f th e day pai n ti n g b e cam e pomp o us th e at , ,

r i c al ,
gran dil o qu e n t a b e autifu l h e ap o f va n iti e s quit e
d ev o id o f e it h e r si n c e rity o r t r uth L e b r u n (1 6 1 9 .

pa i n t e r i n o r di n a r y t o th e ki n g di r e ct e d s u bsta n tially all th e ,

pai n ti n g o f th e r e ign H e aim e d at pl e asi n g r o yalty wit h

.

flatt e ri n g all u si o n s to C ae sarism an d e xt r avaga n t p e r son ifica

ti on s o f th e ki n g as a c l assic c o n q u e r o r His a r t had n e it h e r .

tr u th n o r g e n i u s n or gr e at skil l an d so so u ght t o startl e

, , ,

by s u bj e ct or si ze E n o rm o us ca n vas e s o f A l e xa n d e r s tri
.
’

umphs i n all u si on t o th o s e o f th e gr e at L o uis w e r e t ur n e d o u t

, ,

t o o rd e r a n d Ve rsaill e s t o t h is day is tap e st r i e d with battl e

,

pi e c e s i n which L o u is p o s e s as t h e vict o r C on sid e ri n g th e .

am o u n t o f work d on e L e br u n S h owe d g r e at f e cu n dity an d

,

i n d u stry b u t n on e o f it has m u c h mo r e t h an a m e cha n ical

,

i n g e n u i ty ab o u t it It w as r ath e r o rigi n al i n comp o siti on

.

a n d fac i l e i n h a n dli n g b u t w e ak i n drawi n g lighti n g a n d c o l o r

, , ,

i ng . M o r eo v e r its e xampl e u p o n t h e pai n t e rs o f t h e t im e

,

w a s p e r n ici o u s J o u.v e n e t ( 44
1 6 D e T r oy (1 6 4 5
a n d A n t oi n e C oy p e l with th e ir rh e t o rical utt e ra n c e s a r e g o od

ill u strati o n s o f this .

1 62 I
H S TO R Y O F PA NT N G I I
C o n t e mp o r ary with th e s e m e n w as a g roup o f p or trait
pai n t e rs w h o gai n e d c e l e brity p e rhaps as much by t h e i r sitt e r s
as by th e ir o w n p ow e r s T h ey w e r e facil e fla tte r e r s giv e n ov e r
.

t o th e p omps o f t h e r e ig n a n d mir r o ri n g its abs u rditi e s o f

fash i o n T h e ir w o rk h as a grac e ful app e ara n c e an d for its
.
, ,

tim e it was u n d o u bt e dl y e xc e ll e n t if ma n n e r e d p o rtraitu r e

, .

E v e n t o this day it has q u aliti e s o f drawi n g a n d col o ri n g to

c omm e n d i t a n d at tim e s o n e m e e ts with e xc epti on ally g ood
,

w o rk Ph i li p d e C h am p ai gn e (1 6 0 2 1 6 74 ) w a s a B russ e ls
.
—

pai n t e r an d Fl emish in h is t e ch n iqu e but a ft e rwa r d b e cam e

F r e n ch by ad optio n H e c o m e s a litt l e a h e ad o f th e oth e r s
.

a n d is a littl e asid e f r om t h e mai n cu rr e n t th e b e st portrait

pai n t e r o f his tim e Pi e rr e M i g n a r d (1 6 1 0 ? 1 6 9 5 ) was a
.
— '

p u p il o f Vo u e t w h o st u di e d i n R o m e a n d aft e rwa r d r e t u r n e d
,

t o F ra n c e t o b e c o m e th e succ e ssfu l rival of L e b r u n H e was .

s u p e rficia l a n d r ath e r tawdry in se n tim e n t b u t a pai n t e r o f

c o n sid e rab l e skill H e w as th e f o r e r u n n e r of L ar gilli er e
.

(1 6 5 6 1 7 4 6 ) a n d Ri g a u d (1 6 5 9 1 74 3) w h o did th e fashi o n abl e

— —

p eopl e o f t h e day i n al l th e brav e r y of costum e th e y c oul d

c omma n d .

E I G H TE E N TH C E N TURY PA I N TI N G "
- T h e pai n ti n g o f
L o uis X I V S tim e w a s c o n ti n u e d i n t o t h e e ight e e n t h c e n tury
’

f o r s o m e fift e e n y e ars o r m o r e with littl e cha n g e W it h th e .

adv en t o f L o uis XV art t ook up o n its e lf a n o th e r charact e r ,

a n d o n e that r e fl e ct e d p e rf e ctly t h e m o ral social a n d p o l itical , ,

Fr a n c e o f t h e e ight e e n t h c e n tury T h e fi r st L o u is c l am o r e d
.

for gl o ry t h e s e c o n d L ouis r e v e ll e d i n gay e ty a n d friv o l ity

,
.

T h is was th e di ff e r e n c e b e tw e e n b o t h m o n a r c h s a n d b o t h
arts T h e gay a n d th e c o qu e ttish i n pai n ti n g h ad alr e ady
.

b e e n i n t r o d u c e d by th e R eg e n t himse lf a d il e tta n t e in a r t
, ,

a n d w h e n L o uis XV cam e t o t h e t h ro n e it pass e d f r o m th e gay

t o t h e i n sipid a n d t h e flipp a n t S h e ph e r ds a n d sh ep h e r d e ss e s
.

dr e ss e d i n c o urt silks a n d sati n s with c o tt o n y sh e e p b e sid e

th e m p o s e d in stag e se t A r cadias p r e tty g o ds a n d godd e ss e s
-
,
 FR E N C H I
PA NT N G I 1 63

re clin ed in do l en t l y upo n gossam e r cl ouds an d cour t g allan ts ,

'

l o un g e d u n d e r a r tificial t r e e s by art ificia l p on ds maki n g l ov e

to p r e tty s o ub r e tt e s f r om th e th e at r e .

Ye t i n spit e of t h e lack of m o r a l a n d in t e ll e ctua l e l e vatio n

, ,

i n spit e o f friv o lity a n d mak e b e l i e v e this art was i n fi n it e l y

-
,

b e tt e r t h a n th e p ompous imitati on of f o r e ign e xampl e se t u p

by L ouis XI V It was mo r e sp on tan eo us m or e or igi n al m o r e
.
, ,

Fr e n c h T h e i n fl u en c e
.

of Italy b e gan t o fail ,

a n d t h e pai n t e rs b e ga n

t o mirr o r F r e n ch lif e .

It was larg e ly c o u r t life ,

l iv e ly vivaci o us licen
, ,

tio us b u t in that v e ry
,

r e sp e ct cha r act e ristic of

th e tim e M or eo v e r
.
,

t h e r e was a n o th e r qual
ity ab o ut it t h at sh ow e d
Fr e n c h tast e at its b e st
—
th e d e c o rativ e q u ality .

I t ca n har dly b e s u p
p o s e d t h at t h e fairy
c r e ati on s o i t h e a g e w e r e
i n t e n d e d t o r e pr e se n t
a c t u a l n atu r e T h e y 77
— N
FI G P VA M L oo O RTRA I T O F A RI E
L UV
. . .

L E C Z IN S KI . O RE .

w e r e d e sig n e d to o rn a
m e n t h a ll a n d boud oi r an d in pu r e d e co r ativ e d e l icacy O f
,

d e sig n lig h t n e ss o f touch col o r cha r m th e y hav e n e v e r

, , ,

b e e n e xc e ll e d T h e s e rio u s spi r it was l acki n g but th e gay e ty

.
,

of lin e an d colo r was w ell giv e n A s d e co r ativ e art it is s e r ious

.

e n oug h a n d als o si n c e r e e n oug h .

T h e tu rn i n g o f th e tid e was n otic eab l e i n th e s l ig h t e r mo r e ,

m obil e figur e s s h own in th e w o r k o f suc h L e b r u n succ e ss o r s

as L e M oyn e N a toi r e an d C ar l e van L oo a n d th e full flood of
, ,
I 64 H STO R I Y O F PA N T N G I I
it was to S h ow i n Bouch e r ; but b e for e t h at cam e ab o ut a
light e r spi r it i n art app e ar e d i n th e w o r k of a m o st disti ng u ish e d
pai n t e r A n toi n e W a tte au (1 6 84
, h
H e was t h e pai n t e r
chi e fly r e sp o n sibl e fo r th e c o q u e tt e a n d soub r e tt e of F r e n ch
art a n d h e was practically sp e aki n g amo n g th e v e ry first
, , ,

o f t h e latt e r day F r e n ch pai n t e rs

-
His subj e cts w e r e t r ifli ng .

bits o f fashi o n abl e l o v e maki n g sc e n e s f r om th e o p e r a f et e s

-
, , ,

balls a n d th e lik e A ll his Ch aract e r s play e d at lif e i n parks

,
.

a n d g r ov e s t h at n e v e r gr e w a n d m o st of his c o l o r w a s b e a u
,

t i fu lly u n r e al ; but for all that t h e w o rk was o rigi n al d e c o r a ,

tiv e a n d c h armi n g M o r e ov e r W att e au was a brushma n

,
.
, ,

a n d i n tr o d u c e d n o t o n l y a n ew spi r it a n d n e w subj e ct i n t o art ,

b u t a n ew m e th o d T h e e pic t r e atm e n t o f th e Italia n s w a s

.

laid asid e i n fav o r o f a gen r e t r e atm e n t a n d i n st e ad o f li n e ,

a n d flat s u rfac e W att e au i n t r o duc e d c o l o r a n d cl e v e rl y laid

pigm e n t H e w a s a b r illia n t pai n t e r ; n o t a gr e at m an i n

.

th o u gh t or imagi n ati o n but o n e o f fa n cy d e licacy a n d skill

, , ,
.

U n fo rtu n at e ly h e se t a bad e xampl e by his g ay s u bj e cts a n d ,

th o s e w h o cam e aft e r h im ca r ri e d his gay e ty a n d light n e ss o f

spirit i n t o e x agg e ratio n W a tte au s b e st pupils w e r e L a n c r e t
.
’

(1 6 9 0 1 74 3) a n d Pa t e r (1 6 9 5
—
w h o pai n t e d i n his styl e
with som e tim e s e xc e ll en t r e sul ts C o n t emp o r ary with th e m .

cam e N atti e r (1 6 8 5 t h e m o st bril lia n t a n d facil e p o r

trait pai n t e r o f th e tim e an d Toc qu e (1 6 9 6
-
,
w h o pai n t e d
t h e e xc e ll e n t p o r t r ait of M ari e L e cz i n sk i n ow i n t h e L o u vr e ,
.

A ft e r th e s e m e n cam e B o u c h e r (1 7 0 3 w h o tu r n e d ,

W a t t e a u s charmi ng f et e s sh owi n g th e c o stum e s a n d ma n n e rs

’

o f t h e R e g e n cy i n t o e xtravaga n c e
,
N o t o n ly w a s t h e m o ral .

t o n e a n d i n t e ll e ctual stami n a o f his art far b e l ow that o f

W att e au b u t his w o r kma n ship w a s l e ss si n c e r e B o u ch e r
,
.

p o ss e ss e d a r e markabl e facility o f ha n d a n d a k e e n d e c o r ativ e

c o l o r s e n s e ; b u t aft e r a tim e th e s e b e cam e st e r e o typ e d a n d
-

ma nn e r ed D rawi n g a n d m o d e lli n g w e r e n egl e ct e d lig ht w a s

.
,

wh olly c o n v en ti o n al a n d la n dscap e t u r n e d i n t o a pi e c e o f
,
'
1 66 H S TO RI Y O F PA N T N G I I
S p i c u o u s is o lati o n C l a u d e J o s e ph V e r n e t (1 7 1 4 1 7 8 9 ) was
.
—

a la n dscap e a n d mari n e pai n t e r o f s o m e r e put e i n his tim e .

H e had a s e n s e o f th e pict o rial b u t n o t a r e markabl e s e n s e o f ,

t h e tr u thf u l i n n at u r e H i s l a n dscap e was o f t h e classic

.

R o ma n vari e ty a n d lat e r o n th e classic R o ma n b u ildi n gs

,

app e al e d t o H u b e rt R ob e rt (1 7 33 a l a n dscap e pai n t e r

o f r u i n s with a n e y e fo r c o l o r light a n d atm o sp h e r e Ch a r d i n
, , .

(1 6 9 9 1 7 7 9 ) a n d G r e u z e (1 7 2 5 1 8 0 5 ) clu n g t o p o r t r ayals
— —

o f h u mbl e lif e a n d s o u ght t o p opulari ze t h e i n timat e s u bj e ct .

C hardi n was hardly appr e ciat e d by th e p e opl e o f his tim e .

His fra n k r e alism h i s abs olut e si n c e rity o f purp o s e h is play

, ,

o f l ight a n d its e ff e c t up o n c o l o r a n d his c h armi n g ha n dli n g o f ,

s u rfac e s w e r e c o mparativ e ly u n n o tic e d Ye t as a c o l o rist .

h e may b e ra n k e d s e c o n d t o n o n e i n Fr e n ch art a n d i n f r e s h ,

n e ss o f h a n dli n g his work is a m o d e l fo r pr e s e n t day pai n t e rs -

.

D id e r o t e arly r e c og n i z e d C h a r di n s e xc e ll e n c e a n d ma n y
’
,

artists si n c e his day h av e admi r e d his pict u r e s ; but h e is n o t

n o w a w e ll k n ow n o r p opular pai n t e r
-
T h e p op u lac e fa n c i e s .

G r e u ze a n d his s e n tim e n tal h e ads o f y o u n g girls T h e y hav e .

a p r e tti n e ss ab o u t th e m t h at is attractiv e but as art th e y ,

lack in f o rc e a n d i n w o rkman ship t h e y a r e t oo sm o o th fin ic a l

, , ,

a n d thi n i n h a n dli n g .

E XTA N T W O RK S pai t r s "b st p A ll of th se e F r e n ch n e a re e re re

s t d i t h L uv r d th r mu i i pa l g a ll ri s f Fr a
en e n e o e an S m o e n c e e o n ce . o e

of t h E ur p a g a ll r i s l i k t h Dr s d
e o e n B rl i e d N a ti al a t
e ,
e e e en, e n, an on

L d h av xamp l s f th i r w r k ; b t t h mas t r p i s
on on , e e e s ti ll
o e o u e e e ce a re

w i t h t h Fr h p p l
e e nc eo e .
 C H A PT E R X II I
FR E N C H PA I N TI N G

TH E N I N E TE E N TH C E N TU R Y
BO O K S R E C O MME N D E D " A S b e f o r e , H ou r ti c q , S tra n aha n ,
e t a l ; a l s o B e n o it , L A r t f r a n ga i s s ou s la R evolu ti on et l E m
’ ’
.

p i r e; B igot ,
P ei n tr e s f r a n ga i s co n tem po r ai ns; B r o w n e l l ,

Fr en ch A r t, B urty , M a i tr es et P eti t M a i tr es C h e sn e a u ,
P ei n tu r e f r an ga i se o u XI X ”
S ié cle, C l e m e n t , Etu des s u r les
B e au x A r ts en F r a n ce; P r u dh on , D avid , L e pei n tr e L ou i s
D a vi d; I n gr es; D e lab o r d e , CEu vr e d e P au l D ela r och e; D e lé c lu z e ,
J acqu es L ou i s D a vi d, son Ecole , et s on Temps ; G auti e r , L A r l
’

M oder n e, Roma n ti ci sme; G o n s e , E u gen e F r omen ti n ; Ham e r

t o n , C on tempor a r y F r en ch P a i n ti n g; P a i n ti n g i n F r a n c e after
th e D ecli n e of C la ssi ci sm; M a c C oll, A r t i n N i n eteen th C en tu r y;
M arc e l , L a P ei n tu r e f r a n ga i se; M e rs on , I n gr es , sa Vi e et
s on Glu vr e ; M o n tr o n d , H F la n dr i n , M o r e a u , D eca mps et son
.

CEu vr e; Pla n ch e , Etu des su r l Ecole f r a n ga i s e; R o b a u t e t

’

C h e s n e au , L Glu vr e complet d E u gen e D elacr oi x; R o s e n thal ,

’ ’

L a P ei n tu r e r oma n ti qu e; S i lv e str e , H i s toi r e des A r ti s tes vi va n ts

S t r aha n , M odern Fr en ch A r t; T h o r e, L A r t
’
et étr a n ger s;

con tempor a i n .

TH E RE V O LUTI O NA RY TIM E " I n co n sid e r in g t h is cen

tu ry s a r t in E ur op e it must b e r e m e mb e r e d that a gr e at s o cia l
’
,

a n d i n t e ll e ctual c h a n g e h ad tak e n plac e si n c e t h e days O f

t h e M e di ci . T h e pow e r so l o n g p e n t up i n Italy du r i n g th e
R e n aissa n c e fi n a ll y br o k e a n d Scatt e r e d its e lf up o n th e n o r t h
e r n a n d w e st e r n n atio n s ; s o ci e ti e s a n d stat e s w e r e tor n dow n

a n d r e bui l d e d p ol itical social an d r e ligious id e as sh ift e d

, , ,

i n to n ew gar bs ; th e old o r d e r pass e d away .

1 68 H S TO RI Y O F PA N T N G I I
R e li g i o nas a n art m o tiv e o r e v e n as a n art s u bj e ct c e as e d
-
,
-
,

t o o btai n a n ywh e r e e xc e pt sp o ra d ically ,

T h e C h u rch fa il e d .

as a n art pat r on a n d th e walls o f Cl oist e r a n d cath e dral f u r

-
,

ni sh e d n o n e w B ibl e r e a di n gs t o t h e u nl e tt e r e d Pai n ti n g fr o m .
,

b e i n g a n e c e ssity o f r e ligi o u s life pass e d i n t o a l u xu r y ; a n d ,

t h e ki n g t h e stat e o r t h e privat e c o ll e ct o r b e cam e t h e patr o n

, ,
.

Hist o ry r o ma n c e n at ur e a n d actua l life w e r e ab o u t th e on ly

, , ,

s ou rc e s l e ft fr o m which art c o u ld draw its mat e rials T h e s e .

hav e b e e n fr e e ly u s e d b u t n o t so much i n a racial as in an

,

i n divid u al ma n n e r T h e t e n d e n cy t o day is n ot so m u ch t o
.
-

p u t forth a u n iv e rsal c on c e pti on as an i n divid u al b e li e f I n .

divid u alism th e sam e q u ality that app e ar e d so st r on g ly

—

i n M ich e la n g e l o s art has b e c o m e a k e y n o t e i n m o d e r n

’
—

w o rk I t is n o t th e o n ly ki n d o f art that h as b e e n sh ow n i n
.

this c e n tury n o r is n atur e a n d r om an c e th e o n ly th em e s fr om

,

which art has b e e n d e riv e d W e must r e m e mb e r a n d c o n sid e r .

th e i n flu e n c e o f t h e past upo n m o d e r n m e n a n d t h e att e mpts ,

to r e st o r e th e c l assic b e auty o f t h e G r e e k R o ma n a n d Italia n , , ,

whic h p r actically r ul e d Fr e n c h pai n ti n g i n th e first part o f

t h is c e n tury .

FRE N CH C LA S S I C I S M O F D A V ID " T his w as a r e vival o f

G r e e k f o rm i n a r t f o u n d e d on this b e l i e f e xpr e ss e d by W i n ck e l
,

ma n n t h at b e auty lay i n f o rm a n d was b e st sh ow n by th e

, ,

a n ci e n t G r e e ks I t w a s th e o bj e ctiv e vi e w o f art whic h saw

'

b e auty i n e xt e r n als a n d t o l e rat e d n o i n divid u ality i n th e

a r tist e xc ept that which w a s sh ow n i n t e ch n ical skil l It .

w a s i n Fr e n ch pai n ti n g littl e m o re tha n a n imitati o n o f t h e

, ,

G r e e k a n d R oma n ma r bl e s as typ e s with i n sist e n c e u p o n ,

p e r f e ct p r op o rti o n s c o r r e ct drawi n g an d bala n c e d comp o si

, ,

ti o n I n t h e m e a n d S pirit it was ps e u d o h e r oic th e i n cid e n ts

.
-
,

o f G r e e k a n d R o ma n hist o r y f o rmi n g t h e chi e f s u bj e cts a n d ,

i n m e thod it rath e r d e spis e d c o l o r lig ht a n d shad e a n d n at u ral ,

- -
,

su r rou n di n gs It w a s e l e vat e d l o fty id e al i n aspi r ati o n

.
, , ,

b u t c oldly u n sympath e t i c b e ca u s e lacki ng i n c o n t e mp o r ary

 1 7c I
H S TO R Y I
O F PA N T N G I
o v e r it smack e d o f th e Bo u rb o n m o n archy which p eopl e
, ,

h ad c om e to hat e C lassicism w a s s e v e r e e l e vat e d r e sp e ct

.
, ,

abl e a t l e ast a n d had t h e air of t h e h e r o ic r e p u blic about it

, .

It w a s a r e tur n t o a st e r n e r V i e w o f lif e with th e martial ,

S pirit b e hi n d it as a n imp e tus a n d n at u rally it h ad a g r e at

,

v ogu e For ma n y y e ars du r i n g th e R e v ol u ti o n t h e C o n s u lat e

.
, ,

a n d t h e E mpir e classicism was acc e pt e d a n d t o this day it

,

liv e s i n a modifi e d f o r m in t h at s e mi classic w o r k k n ow n as -

acad e mic art .

TH E C LA S S I C S C H O O L " Vi e n (1 7 1 6 1 8 0 9 ) w a s t h e fi rst —

pai n t e r t o pr o t e st agai n st th e art of Bo u ch e r by adv o cati n g

m o r e n ob i lity o f f o r m a n d a cl o s e r st u dy o f n atu r e H e w as .
,

h ow e v e r m o r e d e v o t e d t o th e a n tiqu e f o rms h e h ad st u di e d in
,

R o m e tha n t o n atur e I n s u bj e ct a n d li n e h is t e n d e n cy was

.

classic with a l e a n i n g t owa r d th e Italia n s o f t h e D e cad e n c e

,
.

H e lack e d t h e p o w e r t o carry o u t a compl e t e r e f o rm i n pai n t

i n g but h is pupil M M 1 7 4 8 1 8 2 5 ) fin ish e d what h e had
,
—

b eg u n It w a s D avid w h o e stablish e d th e r e ig n of classicism

.
,

a n d by n ativ e f o r c e b e cam e t h e l e ad e r T h e tim e was appr o .

p r i a t e t
,
h e R e v o l u ti o n cal l e d f o r pict u r e s o f R o m u l u s B rutus , ,

a n d A c h il l e s a n d N ap o l e o n
,
e n c o urag e d t h e h e r o ic th e m e .

D avid had st u di e d th e marbl e s at R om e a n d h e us e d th e m ,

larg e ly for mod e ls r ep r o duci n g sc e n e s from G r e e k a n d R oma n

,

life in a n e l e vat e d an d sculpt u r e sq u e styl e wit h muc h a r ch aeo ,

l ogical k n owl e dg e an d a g re at d e al o f skill I n c o lor r e li e f .

, ,

s en tim e n t i n dividuality his pai n ti n g w a s lacki n g H e d e

, ,
.

S p ise d all t h at T h e rh yt hm of li n e t h e ba l a n c e of comp o s e d

.
,

g r o u ps t h e h e r o ic subj e ct a n d t h e classic tr e atm e n t mad e up

, ,

his art It w a s th o r o ugh ly o bj e ctiv e a n d what c o n t e mp o r a r y

.
,

i n t e r e st it posse ss e d lay la r g e ly i n th e martial spirit t h e n

p r eval e n t O f c o u r s e it w as uph e ld by th e I n stitut e a n d it
.
,

r e ally se t th e pac e for Fr e n ch pai n ti ng fo r n e arly half a c e n tury .

W h e n D avid was call e d upo n to pai n t N apol e o n ic pictu r e s h e

pai n t e d t h e m u n d e r p ro t e st a n d ye t t h e s e wit h h is p o r traits
, , ,
 FR E N C H I
PA N T N G I 1 7 1

co n stitut e d hi s b e st wo r k I n p o rtraitur e h e was u n comm on ly

.

st r on g at tim e s .

A ft e r th e R e st o r atio n D avid w h o h ad b ee n a r e v o luti on ist

, ,

a n d t h e n a n ad h e r e n t of N ap o l eo n was s e n t i n to e xil e ; but

,

t h e in flu e n c e h e h ad l e ft a n d t h e sch o o l h e had e stablis h e d

w e r e car r i e d o n by h is c o n t emp o rari e s an d pupils O f th e .

FI G . 80 —
. 1N GRE S . CED IP U S A ND S p HI N x . L UV
O RE .

fo r m e r R e gn ault (1 7 5 4
'

Vin c e n t (1 74 6 a n d Pru d

h on (1 7 5 8 1 8 2 3) w e r e t h e most c on spicuo u s
—
T h e l ast o n e .

was c on sid e r e d as o u t of t h e cl assic ci r cl e b u t S O fa r as maki n g ,

hi s a r t d e p e n d up on d r awi n g a n d c ompositi o n h e was a g e n ,

u i n e c l assicist .His s u bj e cts in st e ad of b e i n g h e r o ic in cli n e d

, ,

t o t h e myt h ol ogical a n d t h e al l e go r ical I n Italy h e h ad b ee n

.

a stud en t o f th e R e n aissan c e pai n t e r s an d f ro m t h em bor r ow e d

,

a m e t h od of shad ow g r adatio n t h at r en d er e d h is figu r e s misty

1 72 I
H S TO R Y O F PA NT N G I I
an d pha n t o m l ik e T h e y p o ss e sse d a n e as e of m o v em e n t
-
.

so m e tim e s call e d Pr u dh o n e squ e grac e an d i n c omp o sitio n

“
,
”

w e r e w e ll plac e d a n d e ff e ctiv e .

O f D avid s p u pil s th e r e w e r e ma n y O n ly a f ew of th e m
’
.
,

h ow e v e r had pr o no un c e d ab ility a n d e v e n th e s e carri e d

, ,

D avid s m e t h o ds i n t o t h e th e atrical G i r o d e t (1 7 6 7 1 8 2 4 ) was

’
—
.

a d r aftsma n of c o n sid e rabl e p ow e r but with p o o r tast e i n ,

c ol o r a n d littl e r ep o se i n comp o siti o n M o st o f h is w o r k w a s .

e xagg e rat e d a n d st r ai n e d in e ff e ct L e thi er e (1 7 6 0 1 83 2 ) .

—

a n d G u eri n (1 7 74
’
pup ils o f R eg n a u lt w e r e pai n t e rs ,

aki n to G iro d e t but i n f e ri o r to h im G é r a r d (1 7 7 0 1 8 3 7)

,
— .

was a w e ak D avid f o llow e r w h o gai n e d s om e c e l ebrity by ,

pai n ti n g p o rtraits o f fam ous m e n a n d w o m e n T h e tw o .

pupils o f D avid w h o br o ught h im th e m o st c r e dit w e r e I n g r e s

(1 7 80 1 86 7) a n d G r os (1 7 7 1 1 8 3
—
I n gr e s was a c ol d p e r
—
,

s ev e ri n g m an w ho se pri n cipl e s had b e e n w e ll s e ttl e d by D avid

,

e arly i n lif e a n d w e r e adh e r e d t o wit h c o n victi o n by t h e upil

, p
t o t h e l ast H e m o difi e d th e classic s u bj e ct som e what studi e d
.
,

R apha e l a n d th e Italia n s a n d r e i n t r o duc e d t h e S i n gl e figu r e

,

i n t o a r t (th e S o urc e a n d th e O dalisqu e for e xampl e s) Fo r

, ,
.

c ol o r h e h ad n o fa n cy I n n at u r e al l is f o rm
. h e us e d t o ,
”

say Pai n tin g h e t h o ug h t n o t a n i n d ep e n d e n t art b u t a

.
,

d e v e l opm e n t o f sc u lpt ur e T o c o n sid e r e moti o n c o lo r or

.
, ,

lig h t as th e e q ual of f o r m was mo n str o us a n d t o compar e ,

R e mbra n dt with R apha e l was b l asp h e my T o this b e li e f .

h e clu n g t o th e e n d faithfully r e pr o duci n g th e h uma n figu r e

, ,

a n d it is n o t t o b e w o n d e r e d at t h at e v e n t u ally h e b e cam e

a l e ar n e d draftsma n His si ngl e figur e s a n d h is p o r traits

.

sh ow h im t o th e b e st adva n tag e H e h ad a str o n g grasp o f .

m o d e lli n g a n d a n artistic s e n s e o f th e b e a u ty a n d dig n ity o f

li n e n o t e xc e l l e d by a n y artist o f th e c e n tury A n d t o h im .

m o r e tha n a n y o th e r pai n t e r is du e th e cul tur e d drafts

ma n ship which is t o day th e just prid e o f th e m o d e r n Fr e n c h
-

sch ool .
1 74 H S TO RI Y O F PA NT N G I I
c ommitt e d suicid e i n th e S e i n e His art how e v e r w as th e .
, ,

b egi n n i n g o f r o ma n ticism .

T h e la n dscap e pai n t in g of this tim e w a s als o acad e mic

a n d u n sympat h e tic It w a s a c o n ti n uatio n of th e C la u d e
.

Po ussi n t r aditi o n a n d i n its i n sist e n c e u p o n li n e gra n d e u r

, ,

o f spac e a n d i mposi n g tr e e s a n d mo u n tai n s

,
was a fit com ,

pa n i on t o th e Classic fig u r e pi e c e It h ad litt l e basis i n n atu re

-
.
,

a n d littl e i n c o l o r o r f e e li n g t o c o mm e n d it W a te l e t (1 7 80 .

B e rti n (1 7 7 5 M i ch all on (1 7 9 6 a n d Ali gn y

( 79
1 8 w e r e its e xp o n e n ts .

A fe w pai n t e r s s e e m e d t o sta n d a l itt l e apa r t f r om th e con

t e mp o rary scho ol s M a d am e Vi g é e L e b ru n (1 75 5
.
-
a
succ e ssful p o rtrait pai n t e r o f n obility r e all y b e l on gs fu r th er
-
,

back with th e p r e R ev ol uti o n ary pain t e rs an d H or ac e V e rn e t

—

( 7 9
1 8 a pop u la r battl e pai n t e r many-
of w h os e wo,
r ks
a re t o b e s e e n at Ve r sail l e s was i n flu e n c e d b y t h e N apo l e o ni c
,

r e gim e an d a l s o by r oma n ticism .

R O M A N TI C I S M " T h e mov e m e n t i n F r e n c h pa in tin g w h ic h

b ega n ab o ut 1 8 2 2 an d t oo k th e n am e o f Ro ma n ticism was

b t a pa r t of t h e st o r m “
a n d —st r e ss
-
”
t h at sw e pt Ge r many ,

E n gla n d a n d Fr a n c e at th e b e gi n n i n g of this c e n tu r y app e a r

, ,

i n g first i n lit e r atu r e a n d aft e rwa r d i n art It had its o r igi n .

i n a disc on t e n t wit h th e p r e s e n t a passio n at e y e a r n i n g fo r

,

t h e u n attai n abl e a n i n t e n sity of s e n tim e n t sad m e la n c h oly

, , ,

imagi n i n gs an d a d e si r e t o e xpr e ss th e i n e xp r e ssibl e It

,
.

w as e mphatically subj e ctiv e s e l f co n sci o u s a mo o d o f mi n d

,
-
,

o r a f eel i n g I n t h is r e sp e ct it w a s diam e trically O pp o s e d to

.

t h e acad e mic a n d t h e classic I n Fr e n ch pai n ti n g it cam e

.

fo rward i n O pp o sitio n t o th e classicism o f D avid Peop l e .

h ad b eg u n to w e a ry of G re e k a n d R oma n h e r oe s a n d
th e ir d e e ds a n d o f imp e rso n a l l i n e b o u n d e d stat u e squ e -

art T h e r e w as a d e ma n d fo r s om e thi n g m o r e r ep r e s en ta
.

tiv e sp on ta n e o u s e xp r e ssiv e o f th e i n t e n s e f e e li n g o f t h e
, ,

t im e T h e v ery gist of r oman ticism w as passio n a n d fr e e

.
,
 FR E N C H I
PA N T N G I 1 75

d om t o exp r e ss itse l f in w h at fo r m it wo uld was a co n diti on

O f its e xist e n c e .

T h e c l assic subj e ct was aba n d o n e d by t h e r oma n ticists

fo r d r amatic sc e n e s o f m e diae val a n d m o d e rn tim e s Th e
'

roman tic h e r o an d h e r o in e in sc e n e s of h orr o r p e ril s by l a n d ,

a n d sea ,
flam e an d fury l ov e an d an guish cam e up on th e
, ,

b o a r ds M uc h of t hi s was i ll ust r ati on o f hi st o ry th e n o v e l

.
, ,

a n d po e t r y e sp e cia l ly th e po e t r y of G o e t h e By r o n a n d S c o tt
, , , .

FI G . 82 —
. GE RI CA UL T . TH E RA CE .

L in e was sl u rr e d i n fav o r o f col o r symm e t r ical compositi on ,

gav e way to wil d diso r d e r e d g r o ups i n h e a dl on g actio n an d ,

atm o sp h e r es ski e s an d lights w e r e t w ist e d an d distort e d to

, ,

co n v e y th e s e n tim e n t o f th e st o ry It was t h us mor e by .

,

sugge sti on tha n r e ali zatio n that roma n ticism s o u ght to giv e
,

t h e p oe tic s e n tim e n t o f l if e Its attit u d e t o ward classicism

.

was a n tagon istic a r eb o u n d a flyi n g to th e o th e r e xtr e m e

“

, ,
.

O n e virtua ll y said t h at b e auty w as i n th e G r e e k form th e ,

ot h e r t h at it was i n th e pai n t e r s e m o ti on al n atur e Th e ’

.
 1 76 I
H S TO R Y O F PA NT N G I I
disagr e e m e n t was vi ol e n t a n d o u t of it gr e w th e so ca ll e d
,
-

r oma n tic quarr e l o f t h e 1 8 2 o s ’

.

LE AD E RS O F RO M A N TI C I S M " S ympt oms o f th e c o mi n g

mov em e n t w e r e appar e n t lo n g b e f o re a n y O p e n r e v o lt G r o s .

h ad mad e i n n ovati on s o n t h e Cl assic i n h is batt l e pi e c e s -

,

but t h e first p o sitiv e diss e n t f ro m Classic t e achi n gs was mad e

in th e S al o n O f 1 8 1 9 by G er i c a u l t (1 7 9 1 1 8 2 4 ) wit h h is R aft —

of th e M e d u sa It r ep r e se n t e d th e sta r vi n g th e d e ad a n d
.
, ,

t h e dyi n g of t h e M e dusa s c r e w o n a raft i n mid o c e a n

’
Th e -
.

subj e ct w as n o t c l assic It was lit e r ary r oma n tic d r amatic

.
, , ,

almost th e atrica l i n its s e i zi n g of t h e c r itica l m om e n t Its .

t h em e w a s r e stl e ss ha r r o wi n g h o rribl e It m e t with i n sta n t

, ,
.

O ppositi o n fr o m t h e O ld m e n a n d appla u s e fr o m t h e y o u n g

m en . I t was t h e t r ump e t n ot e o f th e r e v o lt but G ericaul t

-
,

did n ot liv e l on g e n ough to b e c o m e th e l e ad e r o f r o ma n ticism .

T hat p o siti o n f e ll t o his co n t e mp o r a r y a n d f e ll ow pupil -

,

D e la c r oi x (1 7 9 8 It was i n 1 8 2 2 that D e lacr o ix s fi r st ’

S alo n pictur e (th e D a n t e a n d Virgil ) app e a r e d It was a .

st ra n g e ghost l ik e sc e n e from D a n t e s I nfer n o wit h th e black

,
-
’
,

atm o sp h er e o f th e n e th e r w o r ld w e i r d fac e s w e i r d c o lo r s , , ,

w e ird flam e s an d a m odelling o f th e figu re s by patc h e s of

,
'

c ol o r alm o st savag e as compa r e d t o th e ti n t e d drawi n g of

classicism D e lac r o ix s y o u t h sav e d th e pict u r e f rom con
.
’

d e m n a ti o n b u t it was di ff e r e n t with h is M assacr e o f S ci o tw o

,

y e a r s lat e r T h is was d e cri e d by th e classicists a n d e v e n

.
,

G r o s call e d it t h e massacr e o f a r t T h e pai n t e r was acc u s e d

“
.

o f e stablishi n g t h e w o rship o f t h e u gly h e w a s n o d r afts ,

m a n had n o s el e cti o n n o s e v e rity n o thi ng but brutality

, , ,
.

B u t D e lac r o ix w as as o bsti n at e as I n gr e s a n d d e clar e d t h at ,

t h e wh ol e w o rld c o u ld n o t p r e v e n t him from s e e i n g a n d pai n t

i ng thi ng s i n his o w n w ay It was thus t h e q u arr e l sta r t e d
.
,

t h e y o u n g m e n sid i n g wit h D e lacr o ix th e o ld e r m e n f o ll o wi n g ,

D avid a n d I n g r e s .

I n hims e lf D e lacr o ix e mb o di e d all that was b e st a n d str on g

1 78 I
H S TO R Y O F PA N T N G I I
w h at vi o l e n t at tim e s a n d i n br u sh w o rk h e was o ft en l ab o r e d
,
-

a n d patchy His str e ngth l ay i n imagi n ati o n display e d i n

.

c o l o r a n d i n acti o n .

T h e quarr e l b e tw e e n classicism a n d r o ma n ticism last e d

s om e y e ars with n e it h e r s i d e vict o ri o us D e lacr o ix w o n
,
.

r e c og n iti o n fo r his V i e w o f art but did n o t c ru sh th e b el i e f i n

,

f o rm which was t o c om e t o th e surfac e agai n H e f o u ght .

alm o st al on e M a n y pai n t e rs ralli e d ar o u n d him but th ey

.
,

add e d littl e st r en gth t o th e n ew mov e m en t D e vé ri a (1 80 5 .

1 86 5 ) a n d C h am pm a r ti n (1 7 9 7 1 8 8 3) w e r e h ighly th o u ght o f
—

at fi r st b u t rapidly d e g en e rat e d S i g alon (1 7 88

,
. Co

gn i e t (1 7 9 4 R ob e rt F l e u ry (1 7 9 7
-
a n d B o u l an g e r

(1 80 6 1 86 7 ) w e r e r o ma n ticists aft e r a fash i on but achi e v e d

—
,

m o r e as t e ach e rs tha n as pai n t e rs D e l ar och e (1 7 9 7 1 8 5 6 ) .

—

w a s a n e cl e ctic i n fact f o u n d e d a sc h o o l o f that n am e

,

thi n ki n g to tak e what was b e st fro m both pa r ti e s I n v e n t .

i n g n o thi n g h e p r o fit e d by all i n v e n t e d
,
H e e mploy e d th e .

roma n tic s u bj e ct an d c o l o r but adh e r e d to classic d r awi n g

,
.

His c omp o siti o n was g oo d his c o st u m e car e f ul in d e tail his

, ,

b r ush w o rk sm o oth a n d his story t e lli n g capacity e xc e ll e n t

-
,
-
.

A ll t h e s e q u al i t i e s mad e him a p op u lar pai n t e r but n o t a n ,

o rigi n al or pow e rf ul o n e A ry S ch e fi e r (1 7 9 7 1 8 5 8 ) w a s a n
.
—

ill u strat o r o f G oe th e a n d By r o n frail i n b o th s e n tim e n t a n d

,

c o lor a pai n t e r w h o start e d as a r o ma n ticist but aft e r ward

, ,

d e v e l op e d s om e f e e li n g for li n e u n d e r I n gr e s .

TH E O R IE N TA LI S TS I n b o th lit e rat u r e a n d pai n ti n g o n e

"

p h ase o f r o ma n ticism show e d its elf i n a l ov e fo r th e lif e t h e ,

light th e c o l o r o f th e O ri e n t Fr o m Paris D e cam p s (1 8 03

,
.

1 86 0) w a s t h e first pai n t e r t o visit t h e E ast a n d pai n t E ast e r n

l ife H e w a s a gen r e pai n t e r m o r e tha n a fig u r e pai n t e r

.
,

givi ng n at u ral i stic str e e t sc e n e s i n T u rk ey a n d A sia M i n o r ,

i n t e ri o rs a n d c o urts wit h gr e at f ee li ng fo r air wa r mth o f

, ,

c o l o r a n d light H e s e e ms t o hav e b e e n i n fl u e n c e d by R e m
, .

b r a n dt s sch em e of light a n d C h a rdin s pai n ti n g o f S urfac e s

’ ’
.
 FR E N CH I
PA N T N G I 1 79

At ab ut
o th e sam e tim e M ar ilh at (1 8 1 1 1 8 4 7) was in E gypt -

picturin g th e life of that c o u n try i n a simil a r but slight e r

FI G . 84 .
— F R O M E N TIN . H ORS E S AT A F D
OR .

man n e r ; a n d l at e r Fr om e n ti n (1 8 2 0
,
pai n t e r an d w r it e r ,

f oll owin g D elacr o ix w e n t to A lgi e r s a n d p o rt r ay e d th e r e A r ab

,

l if e with fast flyin g h o r s e s th e d e se r t ai r sky ligh t an d Co l o r

-
, , , ,
.
1 80 I
H S TO R Y O F PA N T N G I I
I s ab e y a n d Z i e m b e l o ng f u rth e r o n i n th e c e n tury but w e r e n o ,

l e ss e xp o n e n ts o f r o ma n ticism i n th e i r ric h ly c ol o re d Ve n e tia n

w o rks .

Fift e e n y e ars aft e r th e starti n g o f r o ma n ticism th e m ov e

m e n t had mat e rially s ubsid e d It had n e v e r b ee n a sch o ol .

i n t h e s e n s e o f h avi n g ru l e s a n d laws o f art L ib e rty o f .

though t a n d p e r f e ct fr e e d o m for i n divid u a l e xp re ssi on w e r e

all it adv o cat e d A S a r e sult th e r e was n o u n ity fo r th e r e
.
,

was n o thi n g t o u n it e up o n ; an d wit h e v e r y pai n t e r pai n t

i ng as h e pl e as e d r e ga r dl e ss o f l aw e xtravaga n c e was i n e vi
, ,

tabl e T his w a s th e cas e a n d wh e n th e n e xt g en e r atio n cam e

.
,

i n r o ma n ticism b e ga n t o b e ridic u l e d fo r its e xc e ss e s A r ea c .

tio n start e d i n fav o r o f m o r e li n e an d acad e mic t r ai n i n g T h is .

was first S h ow n by th e st u d e n ts o f D e la r o c h e t h o ug h t h e r e ,

w e r e a n umb e r o f m o v e m e n ts at th e tim e all of th em l e adi n g ,

away fr o m r o ma n ticism A r e co il fr o m t oo muc h co l o r i n

.

fav o r o f m o r e form w a s i n e vitabl e b u t roma n ticism w as n o t ,

to p e r ish e n tir e ly Its i n flu e n c e w a s t o g o o n a n d t o app e a r

.
,

i n t h e w o rk o f lat e r m e n e sp e cially th e la n dscap e pai n t e rs

,
.

E C LE C TI C S A N D TRA N S I TI O N A L PA I N TE RS " A ft e r I n g r e s

h is f oll ow e r Flan d ri n (1 8 0 9 1 8 6 4 ) was th e m o st co n sid—

crabl e draftsma n o f th e tim e H e w a s n o t e xcl usiv e ly classic

.

but rath e r r e ligi o u s i n s u bj e ct a n d is som e tim e s call e d ,

t h e r e ligi o u s pai n t e r o f F ra n c e H e had a d e licat e b e auty

”
.

o f li n e a n d a fi n e f e e li n g f or f o r m b u t n e v e r was st ro n g i n ,

c o l o r br u sh w o r k or s e n tim e n t His b e st w o r k app e ars in

,
-
,
.

his v e ry fin e po r traits G l e yr e (1 80 6 1 8 74 ) w a s a m an o f
.
—

classic m e th o ds but r o ma n tic tast e s w h o m o difi e d th e h e r oic

, ,

i n t o th e idyllic a n d myth o l ogic I n th em e h e was a s e n ti .

m e n tal day dr e am e r w i th a t o uch o f m el a n ch o ly ab o ut th e

-
,

va n ish e d past app e ari n g i n A r cadia n fa n ci e s pr e tty n ymphs

, , ,

a n d i d e ali ze d m e m o ri e s o f y o u th I n e x e cuti o n h e was n o t .

at all r o ma n tic His c o l o r w as pal e h is drawi n g d e licat e a n d

.
, ,

h i s lighti n g misty a n d u n c e r tai n It w as th e e t h e r e alize d .

 C H A PTE R XIV
F RE N C H I
PA N T N G I
TH E N I N E TE E N TH C E N TU R Y C O N TI NU E D
B O O K S RE C O M ME N D E D " T h e b oo ks b e f o r e m e n ti o n e d , c o n
u
s lt als o G e n e ral Bibl iography , a n d Bigot , P ei n tr es con tem
p o
’
u
r a i n s; B r e t o n , L a Vi e d u n A r ti ste; B rty , Th eodor e Rou s

s ea u , pa ys a gi ste; C la r e t i e , P ei ntr es et s cu lpteu r s con tempora i n s ;

D um e s n i l , C on sta n t Tr oyon ; D ur e t , L es P ei n tr es f r a n ga i s en
1 86 7 ; G e n s e l , C or ot u nd Tr oyon ; M i llet u n d R ou ss ea u ; H e n l e y ,

M emor i a l C a ta logu e of Fr en ch a n d D u tch L oa n C ollecti on

H e n r i e t , C h a r les D a u bi gn y et s on ce u vr e; M ich e l , L a F or et
de Fonta i n eblea u ; L es M a i tr es du P a ys a ge; R ob a u t , C or ot,
f
S e n si e r , L i e a n d W or k s of J F M i llet; Th eodor e Rou ss ea u ;
. .

T h o ms o n , Th e B a r bi zon S ch ool; Va n D yk e , M oder n Fr en ch

M aster s; Yr i a r t e , J ea n Fr a n goi s M i llet .

TH E LA N D S CA PE I
PA N TE R S " i n flu e n c e o f e it h e r th e
Th e
cl assic o r r o ma n tic e xamp l e may b e trac e d i n alm o st al l o f
t h e F r e n ch pai n ti n g o f t h e n i n e t e e n t h c e n t u ry T h e O pp o s e d
.

t e achi ngs f o u n d r epr e s e n tativ e s i n n ew m e n a n d u n d e r dif

,

f e re n t n am e s t h e m o difi e d disp u t e w e n t o n t h e disput e o f

t h e acad e mic ver s us t h e i n dividua l t h e a r t o f f o rm a n d li n e

,

ve r s u s t h e art o f s e n tim e n t a n d c o l o r It c o n ti n u e s e v e n t o
.

this day D e lacr o ix fi n ds a f o llow e r i n such impr e ssi o n ists

.

as Re n oi r just as tr u ly as I n gr e s liv e s agai n i n D e gas O ppos .

i ng v ie ws h av e b e e n m u ch mod e r at e d b u t n o t aba n do n e d .

N o r has c o n ti n uity b e e n l o st . T h e r e is always s om e thi n g o f

t h e past i n t h e pr e s e n t . T h e n e w c o m e s o u t O f t h e O ld .

W it h t h e classicism o f D avid n o t o n ly th e fig u r e but th e ,

l a n dscap e s e tti ng o f it t ook o n a n id e al h e r o i c charact e r

,
.
 FR E N C H I
PA N T N G I 1 83

Tree s an d h ill s
riv e rs b e cam e sup e r n at u rally g r a n d an d
an d

i mp r e ssiv e E v e ryt h i n g was e l e vat e d by m e thod t o produc e

.

a n imagin ary A rcadia fit f o r t h e d e iti e s o f t h e classic world .

T h e r e sul t was that n atu r e a n d t h e h u ma n ity of t h e pa i n t e r

pass e d o u t i n fav o r o f sch ool f o r mul a a n d acad e mic tra di
ti on s S uc h was th e lan dscap e art o f Be r ti n Align y M ichal
.
, ,

lon . It was v e r y gra n d v e ry classic but n o t v e ry tru e W h e n

,
.

r oman ticism cam e i n t h is was chan g e d but n atur e falsifi e d ,

FI G . 85 —. CO ROT . L A N D S CAP E .

in an o t h e r di r e ctio n L an dscap e was giv e n a n i n t e r e st in

.

h uma n affairs a n d mad e t o l ook gay or sad p e ac e ful o r turb u

, ,

l en t as th e day w en t w e ll or il l wit h th e h e r o of th e st o ry
,

p o r t r ay e d It was h ow e v e r t r u e r t o th e actual t h a n th e
.
, ,

classic mo r e studi e d in th e pa r ts m o r e u n it e d in th e w h o l e
, ,
.

A b o u t th e y e a r 1 8 3 0 th e i n flu e n c e o f roma n ticism b e ga n to
S h ow in a n ew or at l e ast diff e r e n t la n dscap e a r t
,
T hat is t o
,
.

say th e e motio n al im puls e S p r i ng in g f r om r oma n ticism com

, ,

b in e d wit h th e study o f th e old D utc h la n dscapists se t a la r g e ,

n umb e r o f pai n t e r s to t h e c l o s e study of n atu r e E v e n b e fo r e .

1 84 I
H S TO R Y I I
O F PA N T N G

this t oo k plac e th e r e w e r e sig n s o f a n appr o achi ng cha n g e .

G e o r g e s M i c h e l (1 7 6 3 1 8 4 2 ) w as pai n ti n g m o u r n f u l r oma n t i c
—

la n dsc ap e s with a c o ars e b u t br o ad b r u sh a n d S h owi ng r e alistic

t e n d e n ci e s t h e r e i n a n d aft e r h im Pa u l H u e t (1 8 04 1 8 6 9 ) w a s
,
—

a pr o n o u n c e d n atur e st u d e n t i n h is trag ic st o rm sw ept lan d -

scap e s O th e rs h ow e v e r lik e C a b at (1 8 1 2
.
, ,
h e ld fast
t o t h e classic id e al i n la n dscap e o f Po u ssi n whil e D e la b e r g e ,

( 7
1 8 0 1
-
8 4 )
2 l o st hims e lf i n an o v e r c o n sci e n ti o u s f o ll ow
-

i ng o f mi n ut e n at u r e T h e ul timat e la n dscap e o utc o m e o f

.

r o ma n ticism h ow e v e r app e ar e d i n th e w o rk of a gr oup o f

, ,

pai n t e rs vag u e ly k n o wn as th e
FO N TA I N E BLEA U BA RB IZ O N S C H O O L -
T his wh o l e sch ool "

w a s primarily d e vot e d to showi n g t h e s e n tim e n t o f c o l o r a n d

light It t ook n at u r e j u st as it f o u n d it i n th e f o r e st o f
.

Fo n tai n ebl e au o n t h e plai n o f B arbi zo n a n d e ls e wh e r e

, , ,

a n d tr e at e d it wit h a p o e tic a n d e m o ti o n al f ee li n g f or l ight ,

shad ow atm o sph e r e c olor that r e sult e d i n th e b e st lan dscap e

, , ,

pai n ti n g of th e c en tury .

C o r o t (1 7 9 6 1 8 7 5 ) w as c l assica l ly t r ai n e d u n d e r Be rti n
-

a n d o rigi n ally i n h e rit e d th e C la u d e L o rrai n traditi o n He .

w a s s o m e w h at apart fr o m t h e o th e r m en i n his lif e a n d was

n o t a m e mb e r o f t h e Fo n tai n e bl e au B arbi zo n gr o u p y e t i n his —
,

sympathy a n d i n h is art h e is c o rr e ctly class e d wit h th e m .

H e was a m a n w h o s e a r tistic lif e was fil l e d with t h e b e a u ty

O f light a n d ai r T h e s e h e pai n t e d w i th gr e at S i n gl e n e ss of
.

a im a n d gr e at cha r m M o st o f h is w o rk is i n a light silv e r y

.

k e y o f c ol o r u sually S impl e but S ig n ifica n t i n c o mpositio n

, ,

larg e in masse s o f light a n d da r k a n d v e ry b r o a dl y b u t cl e v e rly

,

ha n dl e d with t h e b r ush H e b ega n pai n ti n g by u si n g th e

.

mi n u t e br u sh b u t c h a n g e d it lat e r on fo r a fr e e r styl e whic h

,

re co rd e d o nly th e gr e at o m n ipr e s e n t truths a n d supp re ss e d

t h e small o n e s H e has n e v e r had a s u p e ri o r i n p r o duci n g t h e
.

p e rm e ati ng light o f m o r n i n g a n d e v e n i ng Fo r this al on e .

,

if fo r n o o th e r e xc e ll e n c e h e d e se r v e dly h o lds high ra n k T ha t

,
.
I 86 H S TO RI Y O F PA NT N G I I
but gr e at c o l o rist a n d t e ch n ically his brush was br o ad
not , , ,

e n o ugh b u t s o m e tim e s h e avy His lat e w o rk is i n f e rior i n

.

s e n tim e n t a n d lab o r e d i n ha n dl i n g D i a z (1 8 0 8 1 8 7 6 ) w a s .
—

alli e d t o R o u ss e a u in aim a n d m e th o d th o u g h n o t so s u r e n or ,

so p o w e rf u l a pai n t e r H e had fa n cy a n d vari e ty in cr e ati o n

.

that s om e tim e s ran to lic e n s e a n d i n c o l or h e w a s cl e a r a n d

,

br illia n t N e v e r v e ry w e ll trai n e d his drawi n g is o ft e n i n

.
,

d iff e r e n t a n d his li g ht dist o rt e d but t h e s e a r e m o r e tha n ,

at o n e d for by d e licacy a n d p oe tic cha rm A t tim e s h e pai n t e d .

with m u c h p o w e r .

T h e s e w e r e t h e chi e f m e mb e rs o f t h e Fo n tai n e bl e a u
B arbi zo n l a n dscap e gr o u p It is cla im e d that th e i n fl u e n c e o f
.

t h e E n gl i sh pai n t e r C o n stabl e fo r m e d th e ir styl e but wh e n

, , ,

C o n stabl e e xhibit e d i n t h e S al o n i n 1 8 2 4 C o r o t w a s a y o u n g
m a n in R om e R o u ss e au a n d D up r e w e r e tw e lv e y e a r s old
.
,

D ia z w as fift e e n a n d w o rki n g at S ev r e s T h e i n flu e n c e o f .

C o n stabl e u po n y o u ths o f t h at ag e m u st hav e b e e n sl ight .

L at e r o n h e a n d Bo n i n gt on may h av e b ee n studi e d by t h e
gr o up b u t th e r e is n o e vid e n c e o f it i n th ei r w o rk T h e .

pai n t e rs th ey f o ll ow e d at first w e r e R uisda e l a n d H obb ema ,

but th e i r chi e f m o d e l w a s n atu r e .

D a u b i g n y (1 8 1 7 1 8 7 8 ) was sympath e tic with t h e R o us

—

s e aufi iaz gr o u p but n o t actually a participa n t i n its

fl

lif e I n his art h e s e e m e d m o r e lik e C o r o t havin g a similar

.

charm o f sty l e a n d l ov e o f atm o sph e r e a n d light H e w as .

f o n d o f th e ba n ks o f th e S e i n e a n d t h e M a r n e at twilig h t ,

wit h e v e n i n g atmosph e r e s a n d dark tr e e s sta n di n g in s il e n t

ra n ks agai n st th e wa r m sky H e w as als o f on d o f th e gray day
.

al o n g th e c o ast a n d e v e n th e se a att r act e d him n o t a littl e

,
.

H e w as a p ai n t e r o f fin e abiliti e s a n d i n tr e atm e n t st r o n gly ,

i n dividu a l e v e n disti n g u ish e d by his simplicity a n d di re ct

, ,

n e ss . U n ity o f t h e wh o l e grasp o f th e mass e n tir e was h is

, ,

t e ch n ical aim a n d this h e s o u ght t o g e t n o t so much by li n e

,

as by c ol o r t on e s O f varyi ng val u e I n t h is r e sp e ct h e s e e m e d
-
.
 FR E N C H I
PA N T N G I 1 87

a con n e ctin g lin k b e tw e en C o ro t an d th e pr e s e n t day imp r e s

-

si oni st s . C h i n tr e uil ( 1 81 4 — r
1 an8 7 3)
c ai s (1 8 and
14 18
9 7) F —

w e r e som e w h at alli e d in p o i n t o f vi e w wit h this gr o up of lan d

scap e pai n t e rs an d amo n g th e l at e r m e n w h o h av e ca rr i e d ou t
,

t h e i r b e li e fs a r e C a zi n (1 8 4 1 1 9 0 1 ) D am oy e (1 8 4 7
—
,
a n d P oi n t

e li n (
1 839 H arpi gm e s
’

(1 8 1 9 an d P e l ou s e —
1 8 9 0) seem
a littl e m o r e in cli n e d to th e d e c o r ativ e than th e po e tic V i e w ,

t h oug h p r oducin g wo r k of much vi r il ity an d i n t e l l ig e n c e

.

FI G . 87 —
. TRO Y ON . L
C A TT E . L UV
O RE .

C l aud e M o n e t wit h Pissa r o S isl e y an d man y of th e imp r e s

, ,

si o ni st l a n dscap e pai n t e r s a r e t h e d e sc e n da n ts of this Fo n

t ain eble a u g r o up a n d mig h t fin d m en ti o n h e r e i n h istorical

s e qu en c e w e re it n o t for taki n g t h e m out o f th e i r tim e an d
mov em en t T h e y wi ll b e m e n ti on e d in th e n ext c h apt e r
. .

C on t e mp o ra r y a n d ass o ciat e d wit h t h e Fon t a i n eble a u

B arbi z on pai n t e r s w e r e a n umb e r of m e n w h o w on hi g h
di stin ctio n as
I 88 I
H S TO R Y O F PA NT N G I I
I
PA N TER S I L
r oy o n (1 8 1 0 1 86 5 ) w a s th e
O F AN M A S " T —

m o st pr o m i n e n t am o n g th e m His wo rk sh o w s a s im ilar s e n ti
.

m e n t fo r lig ht a n d c o l o r t o that o f t h e Fo n tai n e bl e a u la n d

sc a p i st s a n d w i th it th e r e is m u ch k e e n i n si g ht i n t o a n imal
,

l ife A s a t e ch n icia n h e w as rath e r hard at first a n d h e n e v e r

.
,

w a s a c o rr e ct draftsma n b u t h e had a w a y o f giv i n g t h e

,

charact e r o f th e obj e cts h e p o rtray e d which was e ss e n t i ally

tr u thfu l H e did ma n y la n dscap e s with an d with o u t cattl e
. .

FI G . 88 .
— JA CQ U E . SHE E P IN L D P
AN S CA E . LU BUG P
XE M O R ,
A RI S .

Usually th e y a r e S om ew h at f o rmal i n c o mp o siti o n a n d lack

i n i n v e n ti o n ; but h av e g o o d s e n tim e n t a n d c o l o r H is b e st .

p u p il w a s Va n M ar c k e (1 8 2 7 w h o f o ll o w e d his m e th o ds
b u t n e v e r p o ss e ss e d th e f e e l i n g o f his mast e r J a c qu e (1 8 1 3 .

1 9 0 1 ) is als o o f t h e F o n tai n e bl e a u B arbi zo n g r o u p a n d is —

,

j u stly c e l e brat e d fo r his pai n ti n gs a n d e tchi ngs o f sh e ep .

T h e p o e try o f t h e sch o o l is his a n d t e ch n ically h e is fin e i n

,

c o l o r at tim e s if o ft e n rath e r dark i n ill u mi n ati o n L ik e

,
.

T r oy o n h e k n o ws his s u bj e ct w e ll a n d c a n giv e t h e n atur e o f

,

t h e a n i mal with tr u e f e e li n g R o sa B on h e ur (1 8 2 2 1 8 99 ) a n d
.
—
1 90 I
H S TO R Y O F PA NT N G I I
did n o t sh o w th e i n t e n sity o r pr o f u n dity of M ill e t T h e .

f o ll ow e rs o f th e M ill e t B r e t o n traditi o n w e r e ma ny T h e blu e

-
.

fro ck e d a n d sab o t sh o d p e asa n try app e ar e d i n sal o n a n d

-

gall e ry fo r ma n y y e ars aft e r M ill e t di e d b u t wit h n o t v e ry

goo d r e s u lts T h e imitat o rs as us u al caught at t h e s u bj e ct
.
, ,

FI G . 89 .
-
MI LL ET . TH E GL E A N E RS . L UVO RE .

and misse d th e spirit L e roll e a m a n o f p r s t day n ot e

.
, e en -
,

is p e rhaps th e m o st c o n sid e rab l e o f th e pai n t e rs o f r ural

s u bj e cts aft e r M ill e t a n d Br e t on O t h e r pai n t e rs w h o h av e .

d e sc e n d e d artistically fr o m M ill e t Bast i e n L e pag e D ag n a n — -

,

Bo uv e r e t a n d L h e r mitt e
,
might b e m e n tio n e d h e r e w e r e i t
—

n o t that th e y b e l o n g m o r e prop e rly with t h e i r c o n t e mp o r a r i e s

l at e r o n in t h is h ist o ry .

E XTA N T W O RK S Th r ma y xampl s f t h F t ai
" e e are n e e o e on ne

b l au B a r b i
e -
pa i t r s i t h L uv r t h Lux m b urg
zo n n e n d th e o e, e e o ,
an e

mu i ipal g all ri s f Fra

n c e e Th A m ri a
o M us ums n ce d th. e e c n e an e

priva t ll t i s i A m ri a
e co ec on al s w ll supp l i d w it h th ir w rks
n e c a re o e e e o .
 C H A PTE R XV
FR E N C H PA I N TI N G

TH E N I N E TE E N TH A ND TW E N TI E TH C E N TU RI E S
C O N TI N UE D
BO O K S R E C O MM E N D E D " Th e bo o ks b e f o r e m e n ti on e d , H o u r
ti c q , S tra n aha n , et a l ; also B alli er e , H en r i Regn a u lt; D e w
.

hurst , I mpr essi on i sti e P a i nti ng; D u r e t , L e P ei n tr e C laud e

M on et; L es P ei n tr es I rn pr essi on i stes; M on et et s on CE u vr e;
E p h r u ssi , P a u l B a n dr y, s a vi e et s on (e n ti r e; G e ffr o y , L a Vi e
A r ti sti qu e; G r eard , M ei sson i er ; L e c o mt e , A lber t B esn a r d;
C a m i lle P i ss a r o; M au cla i r , F r en ch I mpr essi on i s ts; M o or e ,
M oder n A r t; R iat , C ou r bet; S eaill e s , E u gen e C a r r i é r e; T h e u
r i e t , J u les B asti en L epage; Vacho n , Pu vi s de Ch avann es
-
.

TH E S EM I CL A S S I C I S TS
—
It must n o t b e i n f e rr e d
"

t h at th e classic i n flu e n c e o f D avid an d I n g r e s disapp e ar e d

fr o m vi e w wit h th e c omi n g o f th e r o ma n ticists th e Fo n tai n e ,

bl e au la n ds c apists an d t h e B arbiz o n pai n t e rs O n th e con

,
.

t r a r y sid e by sid e with th e s e m e n a n d O pp o s e d to th e m w e r e

, ,

t h e b e li e v e rs i n li n e a n d acad e mic f o r m ul as of t h e b e autif ul .

T h e wh o l e t e n d e n cy o f acad e mic art i n F ra n c e w a s agai n st

D e lac r o ix R o uss e au a n d M il l e t
, ,
D u ri n g th e ir liv e s t h e y
.

w e r e r e ga r d e d as h e r e tics in a r t an d with o ut th e pal e o f th e

A cad e my . T h e ir art h ow e v e r combi n e d wit h n at ur e study
, ,

a n d th e r e a l ism o f C o urb e t succ e e d e d i n mo di fyi n g t h e classi

,

c i sm o f I n g r e s i n to w h at h as b e e n call e d s e mi classicism It -
.

c on sist ed in th e e l e vat e d h e r o ic or h isto r ical th e m e acad emic

, , ,

f o rm car e ful l y an d p r e cis e ly draw n som e S how o f bright c o l o r s

, ,

smo o t h n e ss o f b r ush w o rk an d pr e cisi on a n d n ic e ty o f d e tail

-
,
.

I n tr e atm e n t it att e mpt e d th e r e a listic but i n spi r it it has b e e n

,

usually stil t e d c o ld u n sympath e tic

, ,
.
1 9 2 I IIS TO R Y O F PA N T N G I I
C a b an e l ( 1 823 —
1 r e a
8 8 9) u (1 8and
2 B o gu eu
5 1 9 0 5 ) hav e
—

b o th r e pr e s e n t e d s emi class i c art fairly w e ll T h ey hav e b e e n

-
.

justly r a n k e d as c o rr e ct draftsm e n a n d goo d p o rtrait pai n t e rs -

,

but th e ir w o rk always has ab o u t it th e stamp o f th e acad e my

machi n e a s o m e thi n g d on e to o r d e r l e ar n e d a n d e xact b u t
, , ,

lacki ng i n t h e p e rso n al e l e m e n t It is a w e ak n e ss o f th e aca .

d emic m e th o d that it virt u ally ba n ish e s th e i n divid u ality o f

mi n d e y e a n d ha n d i n fav o r o f sch o o l f o rm u las C ab a n el
, ,
.

a n d Bo u g u e r e a u hav e pai n t e d ma n y i n cid e n ts of c l assic a n d

hist o ric st o ry b u t with n e v e r a dash o f e n th u siasm or a s u g

,

g e sti o n o f th e gr e at q u aliti e s o f pai n ti n g T h e ir d r awi n g has .

b e e n as th o r o u g h as c o uld b e ask e d fo r i n acad e mic c i rcl e s ,

but th e i r c ol o r has b e e n h arsh a n d th e ir brush e s c o ld a n d thi n .

G er ome 4 1 8 2 4 1 9 0 4 ) w as a m a n of classic t r ai n i n g a n d
,
—

i n cl i n ati on b u t his v e rsatil i ty hardly all o w e d him t o b e clas

,

si fie d a n ywh e r e H e w a s first a l e ad e r o f t h e N ew G r e e ks
.
-
,

pai n ti n g d e licat e myth ol ogical subj e cts ; t h e n a n h ist o rical

pai n t e r sh owi n g d e at h s o f C aesa r a n d t h e lik e ; th e n a n O r i e n
,

t ali s t givi n g sc e n e s fr o m C air o a n d C o n sta n ti n opl e ; t h e n a

,

e r e pai n t e r d e picti n g c o n t e mpo r ary s u bj e cts i n th e ma n y

g n ,

la n ds t hr o u gh w h ich h e had trav e ll e d W h at e v e r h e pai n t e d .

sh ow e d s e mi classic drawi n g e th n o l ogical a n d arch ae o l ogical

-
,

k n owl e dg e Parisia n t e ch n iq u e a n d e xact d e tail His trav e ls

, ,
.

n e v e r cha n g e d h is pr e c is e sci e n t i fic p o i n t o f vi e w H e w as .

a t r u e acad e micia n at b o tt o m but a m o r e v e rsatil e a n d c u l ,

t u re d pai n t e r t h a n e ith e r C a b a n e l o r B ougu e r e au H e dr e w .

w e ll s om e tim e s us e d c ol o r w e ll an d w a s an e xc e ll e n t pai n t e r
, ,

o f t e xtur e s A m an o f l e ar n i n g i n ma n y d e partm e n ts h e w a s
.

n o pai n t e r t o b e s n e e r e d at a n d y e t w a s n e v e r a pai n t e r t o
,

mak e th e p u ls e b e at fast e r o r t o a r o u s e th e ae sth e tic e m o ti on s .

His w o rk is imp e rs on al O bj e ctiv e fact sh owi n g a brillia n t

, ,

e xt e ri o r b u t i n wardly d e v o id o f f e e li n g .

P a u l B a u d ry (1 8 2 8 th o u g h a discipl e o f li n e was ,

n to p r e cis e ly a s e mi —classicist an d p e r haps for that r e ason ,

1 94 I
H S TO R Y I
O F PA NT N G I
at Paris Pu vi s d e C havan n e s (1 8 2 4 1 8 9 8 ) was quit e a
.
—

diff e r e n t styl e o f pai n t e r a n d was r e markabl e for fin e d el icat e

,

t o n e s o f c o l o r which h o ld t h e i r plac e w e ll o n wall o r c e il i n g ,

a n d fo r a c e rtai n simpl e g r a n d e u r o f c o mpositio n I n his .

d e sir e t o r e viv e th e m o n um e n ta l pai n ti n g o f th e R e n aissa n c e

h e m e t with m u c h prais e ; a n d also s o m e criticism f or his
archaistic t e n d e n ci e s H e was a n artist o f si n c e rity a n d
.

l e ar n i n g a n d in m ur a l d e c o ratio n had n o s u p e rio r in th e

,

F ra n c e o f h i s day .

H é b e r t (1 8 1 7 a n e ar l y pai n t e r o f acad e mic l e a n i n gs ,

a n d H e n n e r (1 8 2 9 f o n d o f f o rm a n d y e t a brushma n
with a n idyllic f e e li n g for l ight a n d c ol o r i n dark Prudh on ,

e squ e s ur r o u n di n gs w e r e pai n t e rs w h o may c o m e u n d e r t h e

,

s emi classic gr ou pi n g L e f e b vr e (1 8 34 1 9 1 2 ) was pr obably

-
.
—

t h e m o st pr o n o u n c e d i n acad e mic m e th o ds am o n g t h e lat e r

m e n a n d w a s a draftsma n o f ab i lity .

P O RTRAI T A N D FI G URE PA I N TE R S " U n d e r this h e ad

i n g may b e i n clud e d s o m e pai n t e rs w h o sta n d by t h e ms e lv e s ,

sh owi ng n o p o sitiv e pr e f e r e n c e for e ith e r th e classic o r r o ma n tic

f o ll owi n g s a n d y e t w e r e t r ai n e d i n o n e gr o u p or t h e o th e r .

O f r e c e n t y e ars t h e sha r p disti n cti o n o f s c h oo ls has rath e r

giv e n way to e cl e ctic a c c epta n c e o f d iff e r e n t succ e ss e s so ,

that o ft e n s e v e ral t e n d e n c i e s a r e t o b e o bse rv e d i n o n e ma n s ’

w o rk M o r e O ft e n h o w e v e r a n i n div i d u al p o i n t O f vi e w
.
, ,

d omi n at e s a n d th e i n flu e n c e o f o th e rs i s n o t appar e n t B on n a t .

(1 8 3 3 has pai n t e d all ki n ds o f s u bj e cts ge n r e fig ur e a n d

, ,

h ist o rical pi e c e s but is p e rhaps b e st k n own a s a p o rtrait

—

pa in t e r H e h as d on e f o rc e f ul w o rk that s u g g e sts a liki n g for

.

R ib e ra . S o m e of it i n d ee d is ast o n ishi n g i n its r e alistic m o d e l

li n g th e acc e n t u ati on o f light a n d shad o w o ft e n ca u si n g th e
figu re s to adva n c e u nn aturally F r om this f e at ur e a n d fr o m
.

h is d e tail h e h as b e e n k n ow n fo r y e ars as a r e alist His

“
.

a n at o m ical C hrist o n t h e C r o ss a n d his mural pai n ti n gs i n t h e

Pa n th e o n a re e xampl e s A S a p o rtrait pai n t e r h e is acc e pt
.
-
 FRE N C H I
PA NT N G I 1 95

ab l e if at tim e s a l itt l e r aw in c l r
,
p r t r ait pai n t e r
o o . A n other o -

o f c e l e b r ity is C a r olu s D u r an (1 8 3 7 - H e is r at h e r sta r tl in g

at tim e s i n h is p o rtrayal o f r ob e s a n d dr ap e ri e s has a facility ,

o f t h e b r ush that is f r e qu e n tly d e c e ptiv e a n d i n c o l o r is s om e ,

tim e s vivid H e h as had g r e at succ e ss as a t e ac h e r wit h

.
,

Ve lasqu e z as hi s t e xt b o o k a n d is al l t o l d a pai n t e r o f h ig h
-
, , ,

r a n k D e l a u n ay (1 8 2 8 1 8 9 2 ) was a mu r al pai n t e r al m o st in th e
.
—

sam e class w i th B audry but in h is l at e y e a r s pain t e d l ittl e b e

sid e s p o rtraits L au r e n s .

( 3
1 8 8 has b e e n m o r e o f
a hist o r i cal pai n t e r than
t h e o th e rs a n d h as d e a l t
,

larg e ly with d e at h sc e n e s .

H e is O ft e n sp o k e n o f as
”
th e pai n t e r o f th e d e ad ,

a m an o f s o u n d t r ain
i n g an d e xc e ll e n t t e ch n ica l
p ow e r R e gn au l t (1 84 3
.

1 871 ) was a fig u r e an d
e n r e pai n t e r with mu ch
g
f e e li n g for o ri en tal lig h t
a n d col o r w h o u n for tu
,

n a t e ly w a s kill e d i n battl e

at tw en ty se v en y e ars of
-

age H e was a n a r tist o f

FB L
.

g
— FI G r HE NNE R A IO A
muc h pr omis e a n d l e ft
. . . .

a n umb e r o f n o tabl e can vase s A m on g th e lat e r m e n (som e .

liv in g a n d s om e d e ad) w h o p o r tray th e histo r ica l subj e ct i n

an e l e vat e d styl e m en ti o n sh ould b e mad e o f C o t m on ,

M or e a u B e n jam i n C on s tan t a n d R och e gr os s e

,
-
, A s pai n t e r s .

of o rt r aits A m a n J e a n B l
- an c h e a n d C ar ri er e hav e l o n g
p , ,

h e ld r a n k t h e last n am e d (di e d i n 1 9 0 6 ) b e i n g mark e d

,
— -

by h is vap o ry light a n d ai r his sombr e co l o r i n g a n d h is , ,

d e lica te ly v e il e d mod el lin g .

1 9 6 I
H S TO R Y I I
O F PA NT N G

TH E RE A LI S TS " ut
im e o f th e app e a r a n c e o f
A bo th e t
M il l e t say 1 8 4 8 th e r e als o cam e to t h e f r o n t a m a n w h o
, ,

sc o r n e d b o th Classic i sm a n d r oma n ticism a n d mai n tai n e d ,

that th e o n ly m o d e l a n d subj e ct o f art S h o uld b e n atur e T his .

m a n C o u r b e t (1 8 1 9
,
r e ally gav e a thi r d t e n d e n cy to th e
a r t o f this c e n t u ry i n F ra n c e a n d his i n flu e n c e u n d o u bt e dly
,

had m u ch t o do with m o difyi n g b o t h t h e classic a n d r oma n tic

m o v e m e n ts C o urb e t w as a m a n o f ar r oga n t d ogmatic
.
,

disp o s i ti o n a n d w as q u it e h e artily d e t e st e d d u ri n g his life

, ,

b u t that h e w a s a pai n t e r o f gr e at abil i ty f e w wil l d e n y His .

t h e o ry w a s th e ab o liti o n o f b o th s e n tim e n t a n d acad e mic law ,

a n d t h e taki n g of n atur e j u st as it was wit h all its b e auti e s ,

a n d all its d e f o rmiti e s T his t o o was his practic e to a c e rtai n

.
, ,

e xt e n t .His a r t is mat e r i al a n d y e t at tim e s v e ry l o fty i n ,

c o n c epti on A n d whil e h e b e li e v e d i n r e alism h e did n o t b e

.

l i e v e i n p e tty d e tail but rath e r i n th e g r e at tr u ths o f n atu r e

,
.

T h e s e h e saw with a disc e r n i n g e y e a n d p o rtray e d wit h a

mast e rf u l brush H e b e li e v e d in what h e saw o nl y a n d h ad
.
,

m o r e t h e obs e rvi ng tha n t h e r e fl e ctiv e or e moti o n al dispositi on .

A s a t e c h n icia n h e w a s c o ars e but sup e r bly stro n g h a n dl i ng ,

figur e s sky e art h air wit h th e e ase a n d p ow e r o f o n e w e l l

, , , ,

t r ai n e d i n h is craft His s u bj e cts w e r e ma n y th e p e asa n t ry

.

o f F ra n c e la n dscap e a n d t h e se a h o ldi n g p r o mi n e n t plac e s

, ,

a n d his i n flu e n c e th o u gh n o t dir e ct b e ca u s e h e h ad n o p u pils

,

o f imp o r ta n c e w a s n e v e r t h e l e ss m o st p o t e n t wit h t h e lat e m e n

,
.

A ft e r C o urb e t th e pai n t e rs who d o thi n gs i n a

“
re alistic ”

way a r e fr e q u e n tly m e t wit h i n Fr e n c h art L h e rmi tt e .

( 44
I 8 J u li e n D u p r e ( 5
I 8 1 a n d o th e rs h av e h a n dl e d t h e

p e asa n t s u bj e ct with skill aft e r th e M ill e t C o u rb e t i n itiativ e ;

,
-

a n d B ast i e n L e p a g e (1 8 4 8 1 88 4 ) e xcit e d a g o o d d e al o f a d mi
- —

rat io n i n his life tim e fo r th e tr u th a n d e vid e n t si n c e rity o f his

art Basti e n s p o i n t o f vi e w w a s r e alistic e n o u gh b u t s om e
.
’
,

what mat e r ial H e n e v e r ha n dl e d th e larg e c omp o siti o n wit h

.

s u cc e ss b u t i n small pi e c e s a n d i n p o rtraits h e was quit e ab o v e

,
1 9 8 I
H S TO R Y O F PA NT N G I I
m e n ti o n e d si n c e t h ey hav e n o t imp r ov e d upo n t h ei r fo re
r u n n e r Tou lm ou ch e (1 8 2 9
. L e l oi r (1 84 3 Vi b e rt
( 4
1 8 0 B a r g u e a n d o t h e rs t h oug h s o m e w h at ,

diff e r e n t f r om M e isso n i e r b e lo n g amo n g t h o s e pai n t e r s of

,

g e n r e w h o l ov e d e tail costum es st
,
o ri e s a n d p r e tty fac e s , , .

A mo n g th e pain t e r s of mil ita r y gen r e b e sid e s M e isso n i e r o n e

FI G .
93 .
— CO UB
R ET . D E E R RE TRE A T . L UVO RE , P A RI S .

th i n ks of D e Ne uvi ll e (1 836 -
1 88 Be rn e - B e ll e c ou r (1 8 3 8
tai ll e (1 84 8
De a n d Ai m é M o ro t (1 8 5 0 al l O f -

th e m pai n t e rs o f m e r it .

Q u it e a diff e r e n t styl e of ge n r e is t o b e f o u n d i n t h e w o rk o f
Ri b ot (1 8 2 3 a st ro n g pai n t e r r e markab l e fo r his app o si ,

tio n o f h ig h fl e sh n ot e s with d e e p shad ows aft e r th e ma n n e r o f ,

R ib e ra t h e S pa n ish pai n t e r
,
R oyb e t (1 8 4 o .f o n d o f r ich
st u ff s a n d tap e stri e s wit h v e lv e t clad charact e r s i n i n t e r io r s -
,

d e riv e d so m ewhat fr o m t h e s e v e n t e e n th c e n t ury D utch has -

,

sh ow n goo d c ol o r a n d f re e pai n ti n g Bon vi n (1 8 1 7 1 8 8 7) .

—
 FRE N C H I
PA N T N GI 1 99

pai n t e d i n t e r i o r s with smal l fig u r e s Copp e r k e tt l e s a n d ,

-
,

o t h e r still lif e that hav e giv e n br i llia n cy t o h is pictur e s

-
As .

a sti ll lif e pai n t e r Voll on (1 8 33 1 goo ) h as n e v e r h ad a sup e ri o r

- —
.

His f r uits fl ow e rs a r m o rs e v e n h is small ma r i n e s a n d harb o r

, , ,

pi e c e s a r e pain t e d with on e of th e sur e st brush e s o f th e n i n e

,

t e e n th c e n tury H e was call e d th e

. pai n t e r s pai n t e r a n d
“ ’

,
”

was a m an o f f o r c e in h an dl i n g c o l o r a n d i n givi n g la rg e ,

r e alistic e ffe cts D an tan an d Fri an t hav e b o t h p ro duc e d

.

ca n vas e s sh owi n g figu r e s in in t e r i or s wit h go o d r e sul ts .

A n u mb e r of e xc e ll e n t gen r e pai n t e r s h av e b e e n c l aim e d by

t h e impr e ssi o n ists as b e lo n gi n g t o t h e i r b r o t h e rh oo d Th e r e .

is l ittl e t o wa rr an t th e clai m e xc ept th e i r adoption t o s om e

,

e xt e n t o f m o d e r n id e as o f i ll umi n ati o n a n d flat pai n ti n g

'

D agn an —B ou ve r e t (1 8 5 2 is o n e o f th e s e m en a g oo d d r afts ,

m an a n d a fi n ish e d cl e a n pai n t e r w h o by h is u se o f hig h c o l or

,

fi n ds hims e lf o ccasi on ally l o ok e d upo n as a n imp r e ssi on ist .

A s a matt e r of fact h e is o n e o f th e m o st co n s e rvativ e o f

th e m o d e r n s a m an o f imagi n ati on an d a fin e t e ch n icia n,
.

F an ti n L a to u r (1 8 3 6 1 9 04 ) was half r o ma n tic half all e g o rical

- —
,

i n s u bj e ct a n d i n t r e atm e n t o ft e n tim e s d e sig n e dl y va g u e

,

a n d shad o wy m o r e s u gg e stiv e than r e alistic His p o r t r aits

,
.

ar e e xc e ll e n t a n d hi s fl o w e rs sup e rb D u éz G e rve x M a i gn an
.
, , ,

R oll a r e p e rhaps n e a r e r t o impr e ssi o n ism i n th e ir w o rks tha n

,

t h e oth e r s b u t th e y a r e n o t at a l l adva n c e d adv o cat e s o f this

,

l at e phase of Fr en c h art N or a r e C otte t an d H e nri M ar tin

.

e xact l y of th e impr e ssi on ist br o th e rh oo d tho u gh C o tt e t sug ,

g e sts M il l e t an d M a r ti n h as bo r r o w e d s om e i llumi n ati on fr o m

,

M on e t .

TH E I M PRE S S I O N I S TS " T h e n am e is a mis n om e r E v e ry .

pai n t e r is an impr e ssi o n ist i n so fa r as h e r e c o rds h is imp r e s

si on s an d all art is impr e ssi o n istic W hat M a n e t (1 8 33
,
.

th e l e ad e r of th e o rigi n al m o v e m e n t m e a n t t o say w as ,

t h at n atu r e sh o ul d n o t b e pai n t e d as it act u al l y is but as it ,

“
imp r e ss e s th e pai n t e r H e an d h is few f o ll ow e rs t r i e d to
”
.
2 00 I
H S TO R Y O F PA NT N G I I
cha ng e th e n am e to I n d ep e n d e n ts b u t th e origi n al n am e h as
,

clu n g to t h e m a n d has b e e n mistak e n ly fast e n e d to a ba n d o f

la n dscap e pai n t e rs le d by M on e t w h o h av e b e e n s e e ki ng e ff e cts
o f light a n d ai r a n d sh o u ld h av e b e e n call e d lumi n arists .

M a n e t w a s lik e G o ya i n m e th o d a n d dispos e d t o wa r d low lif e

FIG Q4
— DG
A B UV
NAN- O E RE T D
M A O NNA
PL U U Y K
. . . .

M E TRO O I TA N M SE M, NE W OR .

fo r a subj e ct (lik e G oya agai n ) w h ich h as a l ways militat e d

,

agai n st his p opularity ; but h e w a s a ve r y imp o rta n t m an for

h is t e ch n ical disco v e r i e s r e ga r din g th e r e lati o n s o f light an d
shad o w th e flat app e ara n c e o f n at u r e th e e xact valu e o f c o l o r
, ,

t o n e s S om e o f his w o rks lik e T h e Boy with a S w o rd a n d

.
,

T h e T o r e ad o r D e ad a r e e xc e ll e n t pi e c e s o f pai n ti n g
,
Th e .
2 02 I
H S TO R Y I
O F PA N T N G I
b e e n mad e up o n this m ov e m e n t by di ff e r e n t gro u ps o f pai n t e r s
w h o h av e b e e n call e d p o st impr e ssi o n ists cubists a n d f u tu r
-
, ,

i st s .T h e e ff o rts o f th e s e gr o u ps hav e n o t as y e t pass e d

o u t of t h e e xp e r im e n ta l stag e a n d n e e d n o t b e d e a l t wit h

h ere .

I M PRE S S I O N I S T LA N D S CAPE I
PA N TE R S " W it h C la d e u
M on e t (1 8 4o at th e v e ry b e gi nn i n g o f imp r e ssi o n ism th e r e ,

was a dispositi o n to c h a n g e th e k ey of l ight i n la n dscap e pai n t

i n g t o g e t n e ar e r th e ,

tr u th o f n atur e i n t h e
h eight o f light a n d i n
t h e h e i g h t o f S had o ws .

M o n e t b e ga n by d o i n g
away wit h th e dark
br ow n o r black shad ow
an d substit u t e d th e
light c ol o r e d shado w ,

whic h is n e ar e r th e a c
tual tr u th o f n at u r e I n .

tryi n g t o r ais e th e pitc h

o f l ight h e has n o t b e e n

q u it e so s u c c e s s f u l ,

tho ugh acc omplishi n g

considerable His .

96
FI G G L
— P
RE NO I R m e t h o d h as b e e n t o u se
IR S AT I A NO
LU B U G P
. . . .

XE M O R A RI S
p ur e pr i smat i c c ol o r s on
, .

th e p r i n cip l e t h at c o l o r is l ig h t i n a d e c o mp o s e d f o rm a n d ,

t h at its pr op e r j u xtap o sitio n on ca n vas w ill r e c omp o se i n t o

pur e ligh t agai n I n this h e a n d h is f oll ow e r s hav e b e e n
.

fairly succ e ssful T h e lig h t sh ad ows a n d brigh t c ol o rs ce r

.

t a in ly giv e l u mi n o sity a n d sparkl e a n d t o this is add e d by , ,

b r o k e n to n e s o f c ol o r muc h fin e atm o sph e ric e ff e ct T h at

,
.

th e pictu r e s hav e n o t subj e ct formal c omp o siti o n a n d d e ta il , ,

is to t h e i r adva n tag e Impr e ssio n ism is n o t o n ly a n ew m e t h o d

.
 FR E N C H PAI N T N G I 2 03

but a n ew vi ew in w h ic h lan dscap e is a b r o ad e r l a r g e r mor e , ,

spaci o us a ffai r t h a n e v e r b e fo r e .

T h e f o ll owi n g of M o n e t i n th e imp r e ssio n istic l a n dscap e h as

b een v e r y l arg e n o t o nl y in Fr a n c e but in G e r ma n y Italy , ,

E n gla n d S ca n di n avia a n d A m e r ica

,
For y e a r s th e e xh ib i
,
.

tion s h av e b een col or e d by th e pal e tt e o f imp r e ssi on ism .

J ust at t h is tim e (1 9 1 4 ) t h e r e is a drift in a n o th e r di r e cti on ,

fo l lowi n g th e s omb r e col o ri n g of W h istl e r but th e r e sul ts ,

O f M o n e t s i n itiativ e wil l n o t b e w h o lly dissipat e d S o ma n y

’
.

pain t e r s i n Fr an c e h av e f ol l ow e d h is m e th o ds t h at it is im p os
sibl e to n am e t h e m all M on e t was in flu en c e d by B ou di n th e
.

ma r i n e pai n t e r an d h e h ad as c on t e mp o r a r i e s w o r kin g wit h

h im S i sl e y Pissa ro R en oi r
, t o m e n ti on o n ly th e e arli e r
, ,

m e n M an f r a a n d th e l at e r g e n e rati on of i m p r e ssi on istic

.

lan dscapists h av e n o t y e t b e c om e h ist o r ic .

E XTA NT W O RKS " T h m d r F r h pai t r s s t d

e o e n en c n e ar e een o a

va t a g i t h L uv r L x m b urg Pa th
n e n e o e, S rb u e d th o ,
n e on , o onn e, an e

mu i i pa l g a ll ri s f Fr a
n c e e A l s M tr p li t a M us um N w Y r k
o n ce . o e o o n e ,
e o ,

C h i a g A t I s ti t u t B s t
c o r n M us um e, d ma y p ri va t
o on ll ti s e ,
an n e co ec on

i n Fr a d A m ri a
nce an S m f t h G r ma g a ll ri s
e c . ot a b ly t h
e o e e n e e ,
no e

N a ti a l G a ll ry a t B rl i h av w r ks f t h i mp r ssi i s t s
on e e n, e o o e e on .
 C H A PTE R XVI

I
S PA N S H I I
PA N T N G

BO O K S RE C O MM E N DE D " C o n su l t th e G e n e ra l B ibliog r ap h y
a n d als o " A rmst r o n g , Vela squ ez; Be r u e t e , Vela squ ez; B e ru e t e

y M o re t , S ch ool of M adrid; Br e al , Velasqu ez; C afii n , Old ‘

S pa n i sh M te s; C
a s r e a n -
Be rmud e z , D i cci on a r i o H i stor i co de los
m as I llustr es P r ofesor es de la s B ellas A r tes en E spa na; C o ssio ,
E l Gr eco; H i stori a de la Pi ntu r a E spa ri ola ; D avilli e r , For tu n y,
‘

D i e u l af oy , A r t i n S pai n a nd P or tu ga l; Faur e , Velasqu ez,

Fo rd , H a nd book of S pa i n; Hartl e y , Recor d of S pa n i sh P a i n ti ng;
H e ad , H i story of S pa n i sh a nd Fr en ch S ch ools of Pa i nti ng,
J usti , Velasquez a nd hi s Ti mes; L afon d , Goya; ltl u r i llo,
Ri ber a et Z u r ba r a n ; L e f o rt , Fr a nci sco Goya ; L a P ei n tu r e
E spagnole; M u r i llo et s on E cole; Vela squ ez; Pa l omi n o d e
‘

C astr o y Ve l asc o , Vrfl a s de los Pi n tor es y E sta tu a r i os E mi n e n

tes E spa noles; Passava n t , D i e Ch r i stli ch e Ku n st i n S pa n i en ;
Pl o n , L es M a i tr es I ta li en s a u S er vi ce de la M a i son d A u tr i ch e;
’

R ick e tts , Th e P r ad o; S e n te n a c h , P a i n ter s of th e S ch ool of M a

dr id ; S t e v e n so n , Vela squ ez; S tirli n g , A n n a ls of th e A r ti sts of
S pai n ; Velasqu ez a nd h i s W or ks; T e mpl e , M oder n S pa n i s h
P a i n ti ng; T ubi n o , E l A r te y los A r ti stas contempor an eos e n la
P en i nsula ; M u r i llo; Via r d o t , N oti ces su r les P r i n ci pa u x
Pei n tr es de l E spagn e; W il l iams o n , Velasqu ez; Yri a r t e , Goya ,
’

sa B i og r a ph i e , e t c
.

I
S PA N S H AR T M O T IVE S " Wh at may h av e b e e n th e v e ry
e arly art o f S pai n w e a r e at a l o ss t o c o n j e ctu r e . T h e d e e ds
O f t h e M oo r t h e ic o n o c l ast a n d t h e va n dal h av e l e ft l itt l e
, ,

that dat e s b e f o r e th e f o u rt e e n t h c e n tu ry T h e mi n iat ur e s a n d

.

sacr e d r e lics t r e asur e d i n th e c h u r c h e s a n d said t o b e o f th e

,

ap o st o li c p e ri o d S h ow th e trac e s o f a much lat e r dat e E v e n

,
.

w h e n w e c om e d own to th e fift e e n t h c e n tu ry a n d m e e t wit h

2 06 I
H S TO R Y O F PA NT N G I I
Th e r e are s om e pa n e ls i n th e m u se u ms o f Barc el o n a a n d Vic h
that a re th ought to dat e back t o th e e l e v e n th c e n tu r y T h e y .

S h o w i n t h e typ e s a n d w o rkma n ship t h e i n flu e n c e o f B za n

, y ,

tin e a r t an d w e r e possibly i n spi r e d by th e pictur e s in By za n tin e

FI G 97
— LL
S A N C H E z-C O E O L
C A RA E UG E NI A , D UG
A HTE R O F
P LP D D
. . .

HI I II . MA RI .

man u scripts o f t h e tim e A t S a n t C lim e n t T ah ul l t h e r e are

.
, ,

s om e fr e sc o s supp o s e d t o b e o f th e tw e lfth c en tury al so sho w ,

i ng By za n ti n e i n fl u e n c e T h e r e a re o t h e r works e l s ewh e r e
.
,

o f mix e d i n spirati o n h al f Pe r sia n h al f M osl e m ; b u t t h e re

,
-
,
-

s e e ms littl e c o n ti nuity ab o ut th em A ppa re n t l y t h ey l e ad .

n owh e r e .
 I
S PA N SH PA N T N G I I 207

I
G O TH C A N D RE N AI S S A N CE PE RI O D " Fr om th e fou r
t e en th c e n tu r y on th e r e is m o r e d e fin it e f o rm t o S pa n is h
ar t. It is at fi r st de r ivativ e an d sh o ws th e in flu e n c e o f
e it h e r Ita l y Fl a n d e r s o r Fr a n c e
, ,
T h e figu r e s a r e m e agr e th e
.
,

action is awkwa r d th e r e is s om e d r amatic quality s om e a t

, ,

t e mpt at r e alizatio n o f n at ur e with m u c h d e c o rativ e e ff e ct

,

i n gold g r ou n ds a n d g il d e d stucc o T h e pai n t e rs w e r e scat

.

t e r e d ab o u t in t h e di ff e r e n t citi e s T h e i r styl e s w e r e h ar dl y
.

so v e r y diff e r e n t at th e start t h at th e y c a n b e divid e d u p in t o

sch ool s It is t r u e th e y hav e b e e n classifi e d un d e r sch oo ls

.

b u t th e c l assificatio n s i n th e e a rl y days w o ul d b e tt e r b e c on
side r e d as m o r e g eo g r aphical tha n artistic .

CATA L A N S C H O O L " I n C atal o n ia t h e infl u e n c e s in t h e

e a r ly f o urt e e n th c e n tu ry w e r e Italia n Lui s B or a s s a (1 3 6 6 ?

.

1 4 2 4 ) was o n e o f t h e e arly m e n t h e r e a pai n t e r o f r ic h

—

de c o r ativ e alta r pi e c e s M ar to r e ll w h o p r obably studi e d in

-
.
,

F lo r e n c e a n d J ai m e H u gu e t w e r e th e s u cc e ss o rs o f B or a ssa
,

a n d pai n t e r s o f m o r e skil l T h e y w e r e all usi n g g o ld gr o u n ds

.

wit h muc h o rn am e n t in t h e i r w o rk I n Lui s D alm an (fl c . . .

1 44 5 ) th e Fl e mis h i n flu e n c e o f t h e Va n E ycks is q u it e appa r e n t .

I n th e last ha l f o f th e fift e e n th c e n tury cam e th e m e mb e rs o f

th e pai n t e r famil y t h e V e r g o s w h o gr e atly iIn p rov e d t h e
, ,

g e n e r a l t e chn iqu e o f art t h o u g h still r e tai n i n g th e u se of gil d

i ng a n d gold g r o u n ds I n lat e r days th e C atala n pai n t e rs
.

se e m to h av e b e e n o utra n k e d by th o s e at M adrid .

C A S TILIA N S C H O O L " S pa n is h pai n ti n g t oo k a m o re

d e fi n it e an d d e t e r mi n e d sta r t in C astile tha n e l se wh e r e .

W h at if a ny dir e ct e ff e ct t h e maritim e disc o v e ri e s th e

, , ,

f o r eig n c o n q u e sts th e g rowt h of lit e r at u r e a n d t h e d e cl i n e

, ,

o f Ita l y may h av e had up on it can o n l y b e c o nj e ctur e d ;

,

but c e r tai n ly th e adva n c e o f th e n ati o n po l itica l ly a n d

so cially was pa r a ll el e d by th e adva n c e of its a r t .

T h e r e was pr o bably n o so cal l e d f o u n d e r of t h is C astil ia n

-

sc h o o l It was a g ro wt h from e ar l y a r t t r aditio n s at T o l e do

.
,
 2 08 I
H S TO R Y O F PA N T N G I I
and aft e r wa r d b e cam e th e chi e f schoo l o f th e ki ngd om owi n g
t o t h e patr o n ag e o f Philip II a n d Philip I V at M adrid
.

In .

t h e first half o f t h e fift e e n th c e n t u ry S t a r n i n a a n d o th e r s cam e

from Italy a n d i n 1 4 2 8 Ja n Van E yck arriv e d f r om Fla n d e r s .

T h e s e m e n must hav e
h ad a n i nfl u e n c e u p on
t h e S pa n ish mast e rs o f
'

t h e tim e J u a n d e B or .

g on a w o rk e d i n t h e
Ital ia n styl e F e r n an d o ,

Ga ll e g o s i n t h e styl e O f
Bo uts a n d P e d r o B e rru ,

g u e t e h e lp e d hims e lf t o
b o th styl e s T h e first .

pai n t e r o f imp o r ta n c e in
t h e sc h oo l s e e ms t o h av e
b e e n A n ton i o Ri n c on
(1 4 4 6 I SO O H e is —

s om e tim e s sp o k e n o f as
t h e fath e r o f S pa n ish
pai n ti ng a n d as havi n g ,

st u di e d i n Italy with C as
t a g n o a n d G hirla n daj o ,

but th e r e is littl e pr oo f
fo r e ith e r stat e m e n t H e .

pai n t e d chi e fly a t T o l e do ,

pai n t e d p o rtraits o f Fe r
d in a n d a n d Isab e lla a n d
P D M D D had som e S k ill i n cr u d e
,
FI G 8.
9 G
.
— IL U F RE CO . CR C I I XI O N . RA O , A RI .

drawi ng A l on zo B e rru g u e te (1 4 5 0 1 5 6 1 ) st u di e d wit h M i

.
—

ch e la n g e lo a n d is supp o s e d t o hav e h e lp e d him i n t h e Vatica n

,
.

H e aft e rward (1 5 2 0 ) r e t u r n e d t o S pai n pai n t e d ma n y alta r ,

pi e c e s an d w as patr o n i ze d as pai n t e r sculpt o r a n d a r ch it e ct

, , ,

by C harl e s V a n d Philip II H e was p r obab l y th e fi r st to .

210 I
H S TO R Y O F PA N T N G I I
He was i n flu e n c e d by T i n to r e tto e l o n gat e d ,
t h e l o n g figu r e s of

i
T n tor e tt o ,
got f u s i n g s o f c o l o r from V e n ic e f r om o l d stai n ed ,

gl ass from c o l o r ed statua r y i n S pai n an d t h en add e d to t he s e

, ,

FI G 99 VE LA S Q U E z F
I N A N TE P LP P P
HI I RO S ER P
I M E RIA L
G LL Y V
. . . .

A ER , I E NN A .

a w e i r d imagi n ati o n a n d wa rp e d i n dividual ity o f h is o w n to

mak e som e o f th e o dd e st pict ur e s i n all a r t T h e y l oo k as .

tho u gh d e sig n e d fo r stai n e d glass an d h av e g r e at de co r ative

quality b u t as r e p r e s e n tatio n t h e y a re n o t e n ti re ly saf e o r
 S PA N S H I PAI N T N G I 2I I

san e . Tri s tan was his b e st f o ll ow e r I l G r e c o s

(1 5 8 6 —
1 6 4 0) .
’

son J o r g e was h is imitat o r a n d di d ma n y o f t h e pictur e s n ow

, ,

assign e d t o h is fath e r .

V e la s qu e z (1 5 99 b o rn at S e vil l e but l at e r on h e ad
of M d M adrid is th e g r e at e st n am e i n th e h ist o ry
,

o f S pa n ish pai n ti n g W ith h im S pa n ish art t oo k u p on its e lf

.

a d e cid e dly n atural i stic a n d n ati on al stamp B e f o r e his tirn e .

Italy h ad b e e n fr e e ly i mitat e d ; but th o u g h Ve lasq u e z hims e lf

was i n Italy f or q u it e a l on g tim e a n d b e cam e i n timat e ly ,

acq u ai n t e d wit h gr e at Italian art h e n e v e r s e e m e d t o h av e

‘

b e e n le d away fr o m his ow n i n divid u al w a y o f se e i n g a n d do i n g .

H e was a pupil o f H e rr e r a aft e r ward with Pa c h e c o an d l e ar n e d

, ,

muc h fr o m R ib e ra a n d R ibalta b u t m o r e fr om a di r e ct study ,

o f n at u r e t h a n f r o m all t h e o th e r s H e w a s i n a br o ad s e n s e .

a r e alist a m an w h o r e c o rd e d th e mat e rial an d th e actua l

wit h out e m en dati on o r tran sp o siti on H e has n e v e r b e e n .

s urpasse d i n giv i n g th e so lidity a n d s u bsta n c e o f f o r m an d th e

placi n g o f obj e cts i n atm o sph e r e A n d this n o t i n a small .
, ,

fin i ca l way b u t w i th a br e adt h o f vi e w a n d of tr e atm e n t which

,

a r e t o d ay t h e d e spai r o f pai n t e rs T h e r e was n o thi n g o f th e .

e th e r e al th e spiritual th e pi e tisti c o r th e path e tic ab o u t him

, , ,
.

H e n eve r f o r a m o m e n t l e ft th e fi r m basis o f r e ality S ta n din g .

u p on e ar th h e r e c o r d e d th e tr u ths o f th e e a r th but i n th e ir ,

l arg e st ful l e st m o st sign ifican t f o rms H e is always calm

, ,
.
,

s er en e r e stful ; n e v e r dramatic e xcit e d o r r avi n g H e mak e s

, , ,
.

a plain stat e m e n t o f facts an d wi n s y o u r admirati on by th e

la rg e n e ss th e u n iv e rsality th e b e auty o f his trut h a n d by
, , ,

t h e p r o di gi o us simp l icity o f his m e a n s .

T e c h n ical l y his was a mast e r h a n d d o in g a ll thi n gs wit h -

,

e as e ,
givin g e xact r e lati on s o f col o rs an d l ights a n d p l acin g ,

e v e ry thi n g s o p e rf e ctly t h at n o additi o n or alt e r atio n is thoug h t

of . W it h th e br u sh h e was l ight e asy su r e T h e su r fac e , ,

.

l o oks as t h oug h touch e d o n c e n o m o r e It is th e p e r fe cti on

,
.

of h an dl in g t h ro u gh its simplicity an d c e r tai n ty a n d h as n o t ,

21 2 I
H STO R Y I
O F PA NT N G I
th e sligh t e st t rac e o f aff e ctati o n o r ma n n e rism H e was on e .

o f t h e f e w S pa n ish pai n t e rs w h o w e r e e n abl e d t o shak e o ff

t h e y o k e o f t h e C hurch Fe w o f his ca n vas e s are r e l igi o u s i n

.

s u bj e ct U n d e r r oyal patr o n ag e h e passe d alm o st al l o f h is

.

life i n pai n ti n g p o rtraits o f th e r oya l family mi n ist e rs o f stat e , ,

a n d gr e at dig n itari e s A s a p o r trait pai n t e r h e is m o r e wid e ly

.
-

k n ow n t h a n as a fig u r e
pai n t e r N e v e rth e l e ss h e .

did ma n y ca n vas e s lik e

L a s M e n i n as T h e T ap e s ,

try W e av e rs a n d T h e ,

S u r r e n d e r at B r e da ,

whic h att e st his r e ma r k

ab l e g e n i u s i n that fi el d ;
a n d e v e n i n la n ds c ap e in ,

g e n r e i n a n imal pai n ti n g , ,

h e w as a v e ry w o n d e r f u l
m an I n fact Ve lasqu e z .

is o n e o f th e f ew g r e at
pai n t e r s i n E u r op e a n his
tory fo r wh om th e r e is
n o thi n g b u t prais e He .

was th e full r o u n d e d com -

p le t e pai n te r i n t e n s e ly ,

i n dividua l an d s e lf ass er -

FI G I OOU LL — MD RI O LD MA
tiv e a n d y e t i n his ar t
O N N A A ND CH I .

P FL
. . .

,
I TTI , O RE N C E

r e c o rdi ng i n a br oad way

.

t h e S pa n is h typ e a n d lif e H e was th e climax o f S pa n is h

.

pai n ti n g a n d aft e r him th e r e w a s a r at h e r swift d e cli n e as

, ,

h ad b e e n th e cas e in th e Italia n sch oo ls .

M a zo (1 6 1 9 p u p il a n d so n i n law o f Ve lasqu ez was - -

,

o n e o f his m o st fa c il e imitato r s b u t a pai n t e r n e v e rth e l e ss, , ,

o f disti n ct ability w h o did e xc e ll e n t p o rtraits s o m e o f t h e m ,

n ow ass ig n e d to Ve l as q u e z C arr e fi o d e M i r a n d a (1 6 1 4 1 6 8 5 ) —
.
21 4 H S TO R I Y O F PA NT N G I I
ing was h a r d an d his pai n ti ng s om ew h at c r ud e Pe r h aps th e
,
.

b e st r e aso n fo r h is b e i n g r em e mb e r e d is t h at h e was o n e of
t h e mast e r s a n d t h e fat h e r i n law of Ve l as qu e z -
His riva l
-
.

H e rr e r a th e E l d e r (1 5 7 6 P 1 6 5 6 ) was a st r o n g e r m a n
—
in

FI G . I OI .
— GY
O A . P O RTRA IT . P D
RA O , MA D D
RI .

fact th e m o st o r igi n al a r tist o f his sch oo l H e st ru ck o ff

, .

by hims e lf a n d c r e at e d a bold r e alism wit h a b r o ad brush that

a n ticipat e d Ve lasqu e z i n fact Ve lasq u e z w a s u n d e r him
—
,

for a tim e T h e r e is muc h o f th e fin e dig n ity a n d sob r i e ty

.

t h at aft e rward app e a r e d in Vel as q u ez al re ady appa r e n t in

Her rera .
 I
S PA N SH PA NT N G I I 21 5

Th e pu r e S pan ish sch o o l in A n dalusia as di stin ct f ro m ,

Italia n o r Fl e mish i mitati on may b e said t o h av e start e d wit h ,

H e rr er a It was fur t h e r advan c e d by a n o t h e r in d ep e n de n t

.

pain t e r Z ur b ar an (1 5 9 8
, a pupil of R oelas H e was .

a pain t e r o f th e e maciat e d mo n k in e cstasy an d man y oth e r ,

r ath e r di smal r e ligi o us subj e cts e xp r e ssiv e of to r tu r e d r aptur e .

Fr o m usin g a r ath e r da r k s h ad o w h e acq u ir e d th e n am e o f

th e S pa n ish C a r avaggi o H e h ad a g oo d d e a l o f C aravaggi o s
’
.

st r en gt h tog e th e r wit h a d ept h an d b r e adt h of co l o r sugg e stiv e

,

of th e Ve n e tia n s H e was th e b e st pai n t e r in th e sch oo l o f

.

S e vill e n o twit h sta n di n g th e wid e r e putati o n o f hi s you n g e r

co n t empo r a r y M urill o C an o (1 6 0 1 a pupil of Pach e c o
’

.
, ,

t h ough h e n e v e r w a s in Italy h ad th e n am e o f th e S pa n ish

M ic h e l an g e l o p r obab l y b e caus e h e was scu l pto r pain t e r
, , ,

a n d a r c h it e ct His pain tin g was m o r e i n flu e n c e d by R ap h a el

.

a n d M u r ill o tha n M ich e l a n g e l o It was e cl e ctic r at h e r t h an

.

o r igin al w o r k but n o t d e v o id o f dig n ity an d t r ut h .

1 6 1 8 1 6 8 2 ) is g e n e r ally plac e d at t h e h e ad o f t h e
—

sc h ool as Ve lasq u ez at th e h e ad o f th e C astil ian

,
.

T h e r e is g oo d r e as o n f or it fo r th o ug h M u r ill o was n o t th e
,

g r e at pain t e r h e was so m e tim e suppose d y e t h e was n o t th e ,

sp in e l e ss m an h is m o d e rn c r itics w oul d mak e h im o u t A .

r e ligi o us pai n t e r la r g e ly t ho ugh d o i n g s om e gen r e subj e cts

,

l ik e h i s b e ggar b oy g r o ups h e sough t for r e ligi o us f e r v o r an d

-
,

foun d onl y to o o ft e n s en tim e n tality His mad onn as are

, ,
.

usually aft e r th e C a rl o D ol ci patt e r n though n e v e r so e xc e ssive ,

in s e n tim e n t T h is was n o t th e cas e wit h h i s e a r li e r w o r ks

.
,

m o stly o f h umb l e l if e w hic h w e r e pai n t e d in r at h e r a h a r d

, ,

p o sitiv e man n e r L at e r o n h e b e cam e misty v e il e d in l igh t

.
,

a n d e ff e min at e in outli n e th o ug h st ill h o l di n g g r ac e

,
Va r ious .

in flu e n ces —
Van D yck amo n g t h e m h ad w e ak e n e d h im .

His c o lo r va r i e d with h is e a r ly an d l at e r sty l e s It was usuall y .

gay a n d a litt l e thi n W hil e basi n g h is wo r k on n atu r e l i k e

.

Ve l asqu e z h e n e v e r h ad th e sup r e m e pois e of t h at mast e r

, ,
21 6 H S TO R I Y O F PA NT N G I I
e it h e r m e n tally o r t e ch n ica l ly ; h owb e it h e was a pai n t e r ,

w h o p e r h aps justly h o lds high plac e i n S pa n is h art His .

i n flue n c e u p o n his c o n t empo r a r i e s w a s c on sid e rabl e H e rr e r a .

th e Yo u n g e r (1 6 2 2 1 6 8 5 ) a n d V a l d e s L e al (1 6 30 1 6 9 1 ) w e r e
— —

h is f oll ow e r s a n d i n t h e n e xt g e n e r ati o n Pal omi n o (1 6 5 3

,

t h e art w r it e r a n d pai n t e r was a pupi l of L e a l , .

S C H O O L O F V A L E N C IA " T h is sch oo l r o s e c o n t empo r a ry

with th e A n dalusia n schoo l f r om whi c h it was n e v e r fa r r e
mov e d an d i n t o w h ich it was fi n all y m e rg e d aft e r th e impo r
,

ta n c e of M adrid h ad b e e n e stab l ish e d It was l a rg el y mod ell e d .

FI G . 1 02 .
— F O RTU N Y . P
S E R E N T CH A R ME R . WL A TE RS G LL Y B L
A ER , A TI M O RE .

up o n Italia n a n d Fl e mish pai n ti n g at th e start T h e r e w e r e ,

.

pai n t e r s th e r e in th e thirt e e n t h c en tury o f w h om p e rhaps

J a c om ar t was a typ e a pai n t e r acc e pti n g b o t h Italia n a n d
Fl e mish i n flu e n c e s L at e r o n cam e Vi n c e n t e M a ci p
. a ,

R ap h a e l f o ll o w e r a n d fat h e r o f J u a n d e J u a n e s (1 5 O 7 P 1 5 7 9 )
,
—

w h o appar e n t l y was a n e arly l e ad e r i n t h e sc h o o l H e s e e ms .

t o hav e pai n t e d a g oo d p o r trait b u t i n o th e r r e sp e cts was o n ly

,

a fair imitat o r o f R apha e l wh o m h e had st u di e d at R o m e A

,
.

str on g e r m an was Fra n ci s co d e Ri b a lt a (1 5 5 1 w h o was

p e rhaps fo r a tim e in Italy a n d l e a r n e d th e r e C o r re gg io s sch e m e ’

o f li g hti n g a n d e lab o rat e c o mp o siti o n

,
H e was als o f o n d o f .

R apha e l a n d i n h is w o rks o n e fi n ds sugg e sti o n s o f th e U r bi n at e

,
.
2I 8 I
H STO R Y O F PA NT N G I I
d e clar e d h is i n d ebt e d n e ss t o R e mbra n dt His b e st w o r k sh ows .

i n his p o rtraits a n d e tchi n gs .

A ft e r G o ya s d e at h S pa n ish art suc h as it w a s r at h e r

’
, ,

f oll ow e d Fr a n c e wit h t h e e xt r avaga n t classicism o f D avid as

,

a m o d e l T h e n in du e tim e it r e sp o n d e d t o th e R oma n tic

.

m ov e m en t an d lat e r o n
to th e s emi classic pai n t -

i n g o f F ra n c e Hist o rica l .

w o rks e lab o rat e in tragic ,

st o ry w e r e pai n t e d by
Pr a dill a C a r b on e r o C a , ,

s a d o a n d o t h e rs S om e , .

of th e w o rk of t h is u n i n
spir e d tim e may b e s e e n
i n th e M adrid M us e um
a n d th e A cad e my O f S a n

Fe r n a n do It d oe s n o t .

call fo r m e n ti o n h e r e .

A b o u t t h e b egi n n i n g of
th e r 86 0 s S pa n is h pa in t
’

i n g ma de a n ew adva n c e
with M a r i an o For tu n y
(1 8 3 8 I n h i s e arly
y e ars h e had w o rk e d at
h ist o rical pai n ti n g a n d
FI G 3 1 0 LL -
F
S O RO B A i n Par is w a s i n fl u en c e d
A TE R TH E A TH

PL U U W Y K
. . . .

M E TR O O I TA N M SE M, NE OR
by LI e isso n i er but la t er
.

o n h e w e n t t o A l g i e rs a n d R om e fi n di n g h is tru e v e n t i n a ,

brig h t S pa r kli n g pai n ti n g o f gen re subj e cts o r i e n tal sc e n e s , ,

st r e e ts, i n t e ri o rs si ngl e figur e s a n d t h e lik e H e e xc e ll e d i n

, ,
.

c ol o r s u n l ight e ff e cts a n d pa r tic u larly i n a vivaci o us facil e

, ,

h a n dli n g o f th e br u sh His w o rk is brillia n t a n d i n his lat e

.
,

pr o d u cti o n s o ft e n sp o tty fr o m e xc e ssiv e u se of p oi n t s of lig ht

in h ig h co l o r H e w as a t e c h n icia n of m uc h b r i ll ia n cy a n d
.
 S PA N S H I PA N T N G I I 21 9

O r i g i n a l i t y h is w o r k e xci t i n g gr e at admirati on in his tim e a n d

,

l e adin g th e y o un g e r pai n t e rs of S pai n i n to that o r n at e h an dl in g

visibl e in t h e i r w o r ks to th is day M an y o f th e s e l att e r f r o m .
,

asso ciati on with art an d artists in Paris h av e adopt e d Fr en c h ,

m e t h o ds an d h a r dl y sh ow suc h a t h i n g as S pan ish n ati on ality .

Fo r tu n y S b r ot h e r i n —l aw M a dr azo (1 84 1 -
is an e xamp l e of ,

a S pan ish pain t e r tu r n e d Fr en c h i n his m e th o ds a fac il e an d

b r il l ian t po r t r ait pain t e r Z am acoi s (1 84 2 1 8 7 1 ) di e d e arly
-
.
—
,

but wit h a r e putatio n as a succ e ssful po r tray e r o f s ev e n t e e n t h

c en tu r y subj e cts a littl e aft e r th e sty l e o f M e iss on i e r a nd n o t
unl ik e G erOm e H e was a go o d if som e what fl o rid c o lorist
. .

Pag e a n ts a n d f et e s with rich c o stum e fin e arc h it e ct u r e a n d ,

vivid eff e cts o f c ol o r ar e cha r act er istic o f a n umb e r o f th e ,

mod e r n S pan ia r ds Vi ll e g a s Lu i s Jimi n e z A r an d a Alvar e z , , .

A s a g e n e r al t h in g th e i r ca n vas e s a r e a littl e flashy l ik e l y to ,

pl e ase at fi r st sight but g ro w w e a r iso m e aft e r a tim e .

R om an Rib e r a a n d D om i n g o h av e rath e r f o l l o w e d th e
‘

g en r e sty l e o f M e iss o n i e r Ri c o d u ri n g h is lif e was w e ll ,

k n ow n fo r h is bright sparklin g Ve n e tia n sc e n e s a n d D ani e l ,

Vi e r g e I s a fam o us illustrat o r w h o sh o u l d b e m e n ti on e d In
‘

, .

re c en t y e ars S or olla ha s attract e d c on sid e rabl e att en ti on by

“

h is pai n ti n g of bright su n light an d m o ti on Zul oag a a st r on g

fnm
— , ,

h Of Ve lasqu e z ahd G oya

-

pain t e r has ,

t h at h as c omma n de d much att en ti on an d A n glad a h as S h own ,

imp r e ssi on istic w o rk of co n sid e r abl e in t e r e st .

E XTA N T W O RK S pa i s h a rt a t b
" G en e r a lly sp ak i e ng , S n c nno e

seen t a d va t a g ut s i d f S pai B th i t a i t d m d r
o n e o e o n . o s n c en an o e n

mas t r p i se a t M a dri d S v i ll T l d
e ce are d ls wh r Th ,
e e, o e o, an e e e e . e

Pr a d d A a d my f S
o an F r a d a t M a d ri d h av t h m s t
c e o d an e n n o e e o an

th e b st xamp l s Th w r ks f t h
e e t mp r a ry pa i t r s
e . e o o e co n e o n e a re

l a rg ly i p ri va t h a d s W h r r f r
e n t th m i
e f l i ttl
n t th e e e e e n ce o e s o e u se o e

av r a g s tu d t T h i rty m r F t y
e e en . i th U it d S tat s or o e or un s are n e n e e .

E xamp l s f V i ll g as M a d r a
e o Ri D mi g e d th rs
, i zo , co , o n o, an o e are n

th e V a d r bi lt G a ll ry M tr p l i t a M us um N w Y r k ; S r ll a
n e e ,
e o o n e ,
e o o o

an d t h r S pa i s h mas t r s i
o e th H i spa i S i t y G a ll ry
n e n e n c oc e e .
 C H A PT E R XVI I
FLE M I S H I
PA N T N G I
FR O M TH E B E GI N N I N G TO TH E S I XTE E N TH C E N TU RY
BO O K S R E C O MME N DE D " B e r n a r d , P i er r e B r eugh el , B od e n
haus en , Ger ard D a vi d; C row e a n d C avalcaselle , E arly Flemi sh
D u J ardi n , L A r t fla ma nd; D ura n d - G r e vill e ,
’
P a i n ter s;
H u ber t et J ea n Va n E yck ; E is e n ma n n , Th e B r oth ers Va n
E yck ; Fetis , L es A r ti stes belges a l etr a nger ; Fi e r e n s- G e va e rt ,
’

L es P r i mi tifs fla ma nds; G e rmai n , L es N é er la nd ai s en B ou r

o
g g n e ; G o fli n ,
Th i e r r y B o u ts ; G o ssart , J e r on i m u s B osch ;

H e rb e rt , I llumi n a ted M a n uscr i pts; H ai sn e , L A r t da ns la

’

Fla nd r e; Hyma n , L es Va n E yck ; (W aag e n s) Kii gle r , H a nd

’

book of P a i n ti ng — Germa n , Flemi sh , a nd D u tch S ch ools

L abord e , L es D u cs de B ou rgogn e; L afo n d , Roger va n der W ey
den ; L ec oy de la M arch e , L es M i n i a tu r i stes et les M i n i atu r es,
L e mo n n i e r , H i stor i c des B eau x-A r ts en B elgi qu e; M ic h i e l s ,
H i stoi r e de la P ei n tu r e fla ma nd e; R o os e s , A r t i n Fla nd er s;
W aag e n , Ueber H u ber t u nd J a n Va n E yck ; W aut e rs , Flemi sh
P a i nti ng; H a n s M emli n g; Rogi er va n der W eyden; W e al e ,
H u ber t a nd J oh n Va n E yck .

L
F AN D E R S AND TH E FLE M I S H PE O PLE " Fl a n d e r s m e a n s
th e subm e rg e d l a n ds t h at is t e
-
h n e t h rl a n ds a n d
e —

i n r ep e ati n g t h e h isto r y o f its art t h e g e og r ap h ical l imits

must n o t b e d r aw n too e xact l y Its a r t was wid e r t h a n
.

its po l itica l divisio n s G e r ma n y H ol la n d Fr a n c e w e r e h e r

.
, ,

bord e r n e igh bors a n d t h e i r p e op l e s n o t o n l y i nflu en c e d but w e re

-

i n flu en c e d by F la n d e rs S O it is that Fl emish art was o ccasi on

.

ally produc e d i n plac e s n o t strictly Fl e mish .

I n di vid u ally a n d n ati o n ally th e Fl e mi n gs w e r e st r uggl e r s

agai n st adv e rs e circumsta n c e s f r om th e b egi nn i ng A r e a l istic
.
222 I
H S TO R Y I I
O F PA NT N G

d e c o rativ e but t h e y imp ro v e d rapi dl y a n d b e fo r e t h e Van

E ycks a rr iv e d w e r e d o n e wit h c o n sid e rabl e skill .

F LE M IS H J
S UB E CTS
A ND M E TH O D S " A s in
a ll th e cou n tri e s of E u rop e ,

t h e e a r ly Fl e mis h pa n e l
pai n ti n g pictur e d C h ris
tia n subj e cts p r imarily .

T h e triptychs w e r e fo r
c h ap el or c h urc h alta r
pi e c e s t h o u gh sid e by S id e ,

wit h th e m was a n a dm ir
abl e p o r traitur e so m e ,

k n owl e dg e of la n dscap e ,

a n d s o m e il l ust r ati o n o f

s emi histo r ical o r n ati on a l -

subj e cts I n m e an s an d .

m e thods it was q uit e

o r igi n al T h e Fl e mi n gs .

s e e m to h av e b e gun by
th e mse lv e s a n d pictur e d ,

life i n th e i r ow n way .

T h e y w e r e appar e n tly n o t
i n flu e n c e d at first by Ital y .

T h e r e w e r e n o a n ti q u e
i n flu e n c e s n o e xcavat e d ,

marbl e s t o c o py n othi n g ,

e xc e pt t h e By z a n ti n e t r a

di t i o n s t o f o l l owan d t h e y
w e re soo n disca r d e d A t .

first t h ei r a r t was e xact

FI G YK G G GL
1 04 — VA N E a n d mi n ut e i n d e tail but
C S IN IN AN E S
K F D U M B L
. . . .
,
A I S E R- RI E RI CH M SE U E R IN
n o t too w e l l g r asp e d I n t h e
.
,

mass Th e comp o siti o n s w e r e h uddl e d th e l an dscap e s p u r e

.
,
 L
F E M SH I I
PA N T N G I 22
3

but a t r ifl e fin i cal th e figu re s i n clin e d t o s l im n e ss awkward

, ,

n e ss a n d a n g u la r ity in th e li n e s o f f o rm o r drap e r y a n d u m
, ,

c e r tain ty in acti on To off se t t h is t h e r e was a p o sitiv e r e alism

.

in t e xt u r e s p e r sp e ctiv e colo r t o n e lig h t a n d atm o sp h e r e

, , , , , .

T h e e ff e ct of th e w h o l e was o dd a n d st r ain e d but t h e e ff e ct ,

o f t h e pa r t was t o co n vin c e o n e t h at th e e arly Fl e mis h pain t

er s w e r e e xc e ll e n t craftsm e n i n d e tail S kil l e d wit h t h e b r us h

, ,

a n d s hr e wd o bs e r v e r s o f n atu r e i n a pu r e l y pictu r e squ e way .

T o t h e Fl e mis h pai n t e r s o f t h e fift e e n t h c e n tury b e l on gs ,

n o t th e in v e n ti o n of O il pai n ti n g f o r it was k n o wn b e f o r e
-
,

th e i r t i m e but its acc eptabl e app l icati on i n pictur e maki n g

,
-
.

T h e y appli e d o il wit h c o l o r t o pr o duc e brill ia n cy a n d warmt h

of e ff e ct t o i n su r e firm n e ss a n d b o dy i n t h e w o rk a n d t o car r y
, ,

o u t t e xtu r a l e ff e cts in st uff s ma rb l e s m e tals a n d th e l ik e

, , , .

S O fa r as w e k n o w th e r e n e v e r was muc h u se o f dist e mp e r

or fr e sco w o rk upo n t h e wa ll s o f buil di n gs
-
T h e O il m e dium .

cam e in t o v ogu e w h en pai n tin g up on w oo d in a l ta r pan e ls -

was tak e n up It was s om e t im e aft e r wa r d b e fo r e pain ti n g

.

i n O il up on ca n vas was adopt e d .

S C H O O L O F BRU G E S " T h e r e a r e n am e s of pa n e l pai n t e r s

t h at occu r at th e b e gi nn i n g of th e fift e e n t h c en tury c on t e m
p orar i e s o f M a lo u e l B e lle ch o se
,
a n d B r oe d er l a,
m m e n ti o n e d
un d e r e a r ly Fr e n c h pai n ti n g b u t t h e ir w o rk n e e d n o t d e tai n
us Fl e mish a r t for us b e gi n s wit h H u b e r t van E y ck (1 3 7 0 ?
.

1 4 2 6 ) a n d h is you n g e r b r ot h e r J a n va n E y ck (1 3 9 O P
T h e e l d e r b r o t h e r is suppos e d to h av e b e en th e b e tt e r pai n t e r ,

b e cause th e m o st c el eb r at e d w o rk o f th e b r o t h e r s th e S t .

B av o n alta r pi e c e parts of whic h ar e i n G h e n t B r uss e ls a n d

-
, , ,

Be rl in b e ars th e i n scripti on that Hub e r t b e ga n it a n d Jan

fi n ish e d it . Hub e rt was n o d o ub t a n e xc e ll e n t pai n t e r but
—
,

h is att r ibut e d pictur e s are few a n d th e r e is muc h discussi on

w h e t h e r h e o r Jan pai n t e d t h e m E v e n i n t h e S t B av o n . .

alta r pi e c e t h e r e is c o n fusi on fo r th e br o ad e r fr e e r h a n dl e d
-
, ,

po r tion s o f it are giv en to Hub e r t w h o was e a r li e r by tw en ty

 2 24 I
H S TO R Y O F PA N T N G I I
y e ars t h a n his br o t h e r a n d mig h t b e supp o s e d l e ss f r e e wit h th e
br u sh For h ist o rical p u rp o s e s Fl e mish a r t was b e gu n a n d
.

alm o st compl e t e d by Ja n v a n E yck H e had all th e attrib u t e s

, .

o f t h e e ar l y m e n a n d was o n e o f t h e m o st p e r f e ct o f Fl e mis h
,

pai n t e rs H e pai n t e d r e al fo rms a n d r e al l ife gav e t h e m a

.

s e tti n g i n tru e p e r sp e ctiv e a n d lig h t an d put i n backgr o u n d ,

la n dscap e s with a tr u t h ful if mi n ut e r e ga r d for th e facts His .

fig u r e s i n acti o n h ad o ccasi on ally s om e awkwardn e ss b u t ,

usually t h e y st o o d w el l h ad r ep o s e dig n ity gr e at s e ri o u s n e ss

, , ,

FI G . I OS .
— VA N D E R W YD
E EN . P IE TA . B U L
R SSE S U U
M SE M .

an d si n c e r ity o f m o od His mod e lli n g o f fac e s his r e n d e ri n g

.
,

o f t e xtur e s i n cl o t h m e tal st o n e a n d th e lik e his d e licat e

, , , ,

y e t firm f ac tu r e his br,

i llia n t c o l o r h is fi n e d e c o rativ e patt e r n s
, ,

w e r e all rath e r r e markabl e for h is tim e N o n e of this e arly .

Fl e mish art h as th e gra n d e u r of Italia n comp o siti o n b u t ,

i n r e alistic d e tail i n la n dscap e a r chit e ct u r e figur e a n d

, , , ,

c o st u m e i n path o s si n c e rity an d s e n tim e n t it is u n su rpass e d

, , ,

by a n y fifte e n th c e n t ury a r t Ja n v a n E yck pai n t e d ma ny

-
.

fin e altar pi e c e s th e b e st of th e m n o w e xta n t b e i n g th e wo n d e r
-

f ul Va n d e r Pa e l e M ado n n a at Brug e s A n d h e p r actica ll y .

2 26 I
H S TO R Y O F PA N T N G I I
h is d e tail n or h is c ol o r H e was m o re of a l i n e a r d r aftsman
,
.

t h an a c ol o rist a n d was a n gul a r in figu r e s a n d in d r ap e ry ;

,

but h e h ad gr e at i n t e n sity t r agic p ow e r w o n d e r f ul pat h o s

, , .

His a n gula r ity a n d e m o ti on al e xagg e r atio n sh oul d n o t b l i n d

o n e to h is t e c h n ica l skill His pict u r e s a r e muc h co n fus e d
.

as r ega rds t h e i r att r ibutio n s but suc h g en uin e e xamp l e s as th e

FI G . 1 06 .
— BU
O TS . G A THE RI N G MA NN A . U
M N I CH G LLA E RY
.

D e sc e n t i n t h e E scorial , t h e Pi e t a at B russ e l s , wl y and th e ne

acquir e d t riptych in th e L ouv r e al l p oi n t to a v e ry pr o f o u n d ,

a n d l e a r n e d e arly mast e r His d e c o rativ e s e n se as sh ow n in

.

h is patt e rn s br o cad e s a n d col o rs with h is d el ightf ul back

, , ,

g r oun d la n dscap e s sh ould b e c l ose ly e xami n e d T h e T ou r n ai

,
.

sc h ool s ee ms to h av e c om e to an e n d wit h Rog e r .

 L
F E M SH I PA N T N G I I 227

Pai n t e r s m ov e d ab o ut fr e e ly i n th e N e t h e r lan ds at t h is
tim e a n d t h e i r birthplac e is slight i n dicati on of th e ir pla c e in
a r t Fo r i n stan c e Th i e rry B ou ts (I 4 I O ? 1 4 75 ) w as bo r n i n
.
,
—

Haa rl e m at th e n o r t h but h e m o v e d to L o u vai n a n d w o rk e d

th e r e in th e Fl e mish styl e I n fact h is styl e s u gg e sts th e
.

in flu e n c e o f Van d e r W e yd en t h o u gh h e w e n t b e y on d all th e
F l e mish pai n t e rs i n t h e d e tails of his c o st u m e th e b e a u ty o f ,

h is still l if e an d th e r ich d epth o f his t e xtu re s a n d s u rfac e s

-
, .

His figur e s ar e q u it e as a n gul ar as Van d e r W e yd e n s t h e y a r e ’

,

awkwa r d a n d o ft e n do n o t walk o r sta n d w e ll ; but t h e y hav e

w o n d e r ful dig n ity an d si n c e rity a n d in rich n e ss o f c o l o ri n g
t h e i r cost u m e s a r e alm o st j e w e l lik e T h is is w e ll sh own i n
-
.

th e scatt e r e d fragm e n ts o f t h e L o u vai n alta r pi e c e tha n whic h —

n o t h i n g fi n e r was e v e r pai n t e d i n t h e e arly F l e mish sc h oo l .

T h e wi n gs o f t h is a l ta r pi e c e als o r e v e al w o n d e rful i n sig h t i n to

-

l an dscap e s u nl ight e ff e cts se a sc e n e s E ls ewh e r e h e sh ows

, ,
.

a kn owl e dg e o f m o onl ight e ff e cts T h e E mp e r o r O t h o pict u r e s

.

at B russe ls ar e ma r v e ls o f charact e ri z ation a n d dig n ifi e d p or

t r a i t u re . B o uts was a l e ar n e d m a n a n d a sup e rb t e ch n icia n .

H e l e ft a son A l b e r t B ou ts w h o f o ll ow e d his fath e r s m e t h o ds

’
, ,

a n d c o pi e d ma n y o f his pictu r e s .

O u t of Z e e lan d at t h e n o r t h cam e a n o t h e r pai n t e r w h o

ad opt e d Fl e mish m e th o ds H u g o van d e r G o e s (1 4 4 o ?
H e h ad a str on g n o rth e r n i n dividuality that sh o ws i n his rath e r
coars e typ e s hard m o d e lli n g a n d s e v e r e li n e but his rigid
, , ,

c h a r act eri z ati on was much m o difi e d by fin e f e e li n g a n d v e r y

si n c e r e s e n tim e n t T his sh o ws in h is gr e at mast e rpi e c e i n th e
.

Uffiz i th e Po r ti n ari alta r pi e c e

,
-
It h ad m u ch i n flu e n c e upo n
.

th e F l o r e n ti n e pai n t e rs o f th e day a n d ma n y r e alistic f e at ur e s

o f it w e r e c o pi e d by pai n t e r s lik e G hirla n daj o T h e r e ar e .

n um e r o us M ad on n a h e ads a n d s o m e p o rtraits n ow assig n e d

to Va n d er G oe s b u t th e y ar e slight w o rks a n d n o t t o o a u t h e n tic .

H an s M e m li n g (1 4 3O P 1 4 9 4 ) p r obably cam e from t h e R h i n e

—

fi n d n e a r May en c e t h o ug h i n a r t h e is a t r u e Fl e mi n g foll o w
, , ,
2 28 HI S TO R Y O F PA NT N G I I
i ng t h e Va n E yck - Va n d e r W e yd e n traditi on . He is a c on

t r ast to Va n de r G o e s i n that h e is l e ss ru gg e d a n d m o re ,

grac e f ul . He has fin e s e n t im e n t a n d muc h sw e e t n e ss O f mood

FI G . IO 7 . L G B B
ME M IN . AR A RA DE VLAE ND E R B E R G H E . B U L
R SSE S U
M S E UM .

with attractiv e pat h e tic typ e s T h e r e is n o d r amatic qua l ity

.

abo u t him His fig u r e s a r e q u i e t r e stf u l calmly dig n ifi e d

.
, ,
.

His arab e squ e s a n d d e c o r ativ e patt e r n s wit h h is la n dscap e ,

backg r o u n ds a r e e xc e ll e n t a n d o ccasio n al l y h e soun ds a fin e

2 30 I
H S TO R Y I
O F PA NT N G I
g e st i n g an d way to a mo re cosmopo l ita n a r t
poi n ti n g th e .

H e f o ll o w e d th e o ld Fl e mis h m e t h ods but add e d ma n y imp r ov e

m e n ts His wo r k was d e tail e d an d y e t e x e c u t e d wit h a b road e r
.

FI G . 1 08 .
— D VD B P
A I . A TI S M O F CHRI S T . B UGR ES U
M S E UM .

b r ush t h a n fo r m e rly a n d wit h g re at e r va r i e ty i n d r awi ng ,

m o d e lli n g c o l o ri n g a n d facial e xp r e ssi o n H e i n c re as e d

, ,
.

figu r e s to a l most l if e S ize e n la rg e d an d e labo r at e d th e composi

-
,
 L
F E M SH I I
PA N T N G I 231

t i on , p r actica l ly p oduc d mo um ta l a l ta r pi e c e s i n
an d r e n en -

such w o rks as th e E n t o mbm e n t at A n tw er p I n form c o lo r .

, ,

a n d l a n dscap e backg r o un ds h e was quit e wo n d e r ful a n d to

t h e s e h e add e d st r on g c h a r act e r iz ati on an d t r agic pow e r His .

po r t r aits ar e n o t too w e ll aut h en ticat e d an d ma n y mis e r pic

tu r e s att r ibut e d to h im w e r e pain t e d by M arin u s van Roy
m e r sw a e l (fl 1 5 0 9 .

J u ste van C l e ve (fl 1 5 1 1 1 5 4 0) is suppos e d to b e id en tica l

.
—

wit h th e pai n t e r fo r m e rl y k n own as th e M ast e r o f th e D e at h

of th e Virgi n H e was a fai rl y go o d pain te r f oll owi n g M e tsys
.

but wit h o ut th e o r igin ality of M e tsys Pati n ir (1 4 80 ? 1 5 2 4 ) .

—

was a l an dscap e pai n t e r an d a pupil of G e r a r d D avid His .

l a n dscap e s ar e e xc e ll en t in p e r sp e ctiv e ai r an d lig h t t h oug h , ,

oft e n dark in il lumi n atio n an d somb r e wit h d e e p b l u e s an d

gr e e n s H e us e d figu r e s wit h hi s l a n dscap e an d his w or k is
.

c on fus e d wit h t h at O f D avid I se nb r an d t an d Bl e s H e rri

, ,
.

M e t d e Bl e s (fl 1 5 5 0) h as at p r e s en t ma n y c o n t r adicto ry
.

pictu r e s assig n e d t o h im both in figu r e s a n d in la n dscap e s .

S o m e w r it er s co n f o u n d h im wit h Pa t in ir a n d say h e was w h o ll y

a l a n dscapist ; o t h er s att r ibut e t o h im figu r e pie c e s r ic h in ,

c o l or costum e an d d e tail t h at s ee m to hav e b e en p r oduc e d

, , ,

u n d e r th e in flu e n c e of M e tsys Th e form e r a r e s e e n in th e
.

Vi e nn a M us e u m ; th e l att e r at th e Br uss e l s a n d A n tw e rp
M us e ums .

Fr om M e tsys an d R oym e r sw ael t h e r e s e e ms to h av e d e v e l

o p e d a n umb e r o f stro n g pai n t e r s wit h Fl e mis h c h aract e r istics

w h o foll o w e d t h e Fl e mis h t r aditi o n of e xact t r ut h but aba n

don e d min ut e n e ss fo r th e b r o ad e r t r e atm e n t in dicat e d by
M e tsys T h e y als o chan g e d th e scal e gav e l a rg e r figur e s
.
, ,

use d p e asan t typ e s e v e n in sac r e d sc e n e s an d po r t r ay e d m o r e ,

r e al isticall y th e Fl emis h l if e of th e tim e Jan S aun d e r s van .

H e m e s s e n (fl 1 5 3 6 1 5 5 5 ) was o f t h is class a n d y e t hi s typ e s

.
—

w e r e l e ss viril e tha n t h o s e o f A er tsen His figur e s w e r e l a rg e

.

b u t wit h smoot h co n tour s an d r at h e r p r e tty fac e s t h at w e ak

232 I
H S TO R Y I
O F PA N T N G I
e ne d h is w o rk H e is th ough t to b e id e n tica l wit h th e
.

pai n t e r k n ow n as t h e M o n og ra m m is t o f B r u n swick Pi e t e r .

A e r ts e n (1 5 O 7 P 1 5 7 5 ) pai n t e d s u bj e cts S imilar t o H e m e sse n s

— ’

but h e was muc h m o r e p ow e rf u l i n fact o n e of t h e

str o n g e st pai n t e r s in Fl e mis h a r t M o st of h is pictur e s ar e
.

g e n r e o r st -
i ll lif e d
,
e spit e h is o ccasi o n al r e ligi o u s s u bj e ct .

H e tr e at e d e v e rythi n g i n a stil l lif e w ay His w o rk is r e alistic

-
.

an d r e pr e s e n tativ e l a rg e i n d r awi n g an d m o d e lli n g an d

, ,

s u p e rbly broad an d s ur e i n h a n dl i n g T h e pictu r e s o f c o o ks .

a n d kitc h e n s i n t h e B r u ss e ls M u s e u m might h av e i n spir e d

Vo llo n or M a n e t so e xc e ll e n t a r e th e y i n pur e pa i n t e r s pain t

’

ing . His b e st p u pil w a s B e u ck e la e r (1 5 3 o ? 1 5 73) wh o pai n t e d —

,

t h e sam e ki n d O f subj e cts as his mast e r W h at e v e r th e n am e

.

h e gav e h is pict u r e s th e y r e c e iv e d still lif e t r e atm e n t His -

.

v eg e tabl e stalls an d kitch e n i n t e ri o rs sh ow his pai n ti n g t o th e

b e st adva n tag e Bo th h e an d A e r t sen us e d bright a n d r at h e r
.

h arsh c ol o rs wit h b r oad b u t c o ars e br u sh e s T h ei r sk ill .

a n d t h e ir p o w e i h as n e v e r b e e n right l y appr e ciat e d

r
.

T h e r e alistic t e n d e n cy o f Fl e mish art so pr o n o u n c e d i n

A e r t se n a n d B eu ck elaer wit h th e disp o sitio n to pictur e p e as
’

a n t typ e s w a s i n dicat e d e arly i n t h e w o rk o f J e r o m e B o s ch

,

(1 4 6 0 a fa n cif u l s o ul w h o c o n ju r e d u p fa n tastic sc e n e s
of bot h g o o d a n d e vil a n d b o die d t h e m f o rt h i n a r e alistic way .

H e d e light e d i n d e vils c h im e ras g obli n s st r a n g e lig h ts

, , , ,

w e ird la n dscap e s cr owd e d c o mpositio n s in gay col o r flat

, , ,

m o d e lli ng fat pai n ti n g His fa n cy is t oo u n ca n n y too g ro

,
.
,

t e squ e t o f o ll o w b u t his b r us h is that of a tru e pai n t e r a n d

,

his c o l o r is O ft e n i n spir e d Pi e t e r B ru e g h e l o r B r e u g h e l (1 5 2 5
.

call e d Pe asa n t B r u egh el t o ok up th e pai n ti ng o f th e

,
‘

Fl e mish p e asa n t i n c o u n try villag e a n d tav e r n with a n e w

, ,

a n d pr o n o u n c e d r e alism O f a m o st disti n g u ish e d charact e r .

H e r e agai n is a pai n t e r as y e t appr e ciat e d by o n ly a small

,

gr o u p o f artists a n d writ e rs His S e as on s pi c t u r e s at th e

.

Vi e n n a G all e ry a r e as m o d e r n i n th e ir pai n ti n g as t h oug h

2 34 I
H S TO R Y O F PA N T N G I I
charact e ri zati o n o f th e p e asa n t typ e s a n d w e h av e as t r uthful
a n d as viril e art as e v e r cam e o u t o f Fla n d e rs His son Pi e te r .

B ru e g h e l th e Yo u n g e r (1 5 6 4 s om e tim e s call e d H e ll
“ ”

B ru e g h e l fr o m his pictur e s o f t h e I n f e r n o f o ll o w e d his fat h e r s

’
, ,

styl e a n d Copi e d ma n y o f his pictu r e s Pi e t e r B a lt e n (fl 1 5 40 . .

1 6 0 0 ) was a n o t h e r B ru e gh e l p u pil o f s o m e n ot e .

T h e s e l ast m e n ti o n e d pai n t e rs o f r e alistic lif e cam e lat e in

t h e c e n tu r y a n d h e ld fast t o Fl e mish typ e s a n d id e als Be f o r e .

t h e i r tim e a n d c on t e mp o r a r y wit h t h e m ma n y o f th e Fl emis h

, ,

pai n t e rs had tak e n up with Italia n id e als as w e s h all se e in

t h e n e xt c h apt e r .

XTA N T W O RK S " T h Fl m i s h Pr i m i ti v s
E s ti ll t b s n
e e e a re o e ee

b s t i B l g i a g a ll r i s
e n e d h ur h s
n ea t B russ l s A t w r p Brug s
e an c c e e ,
n e ,
e ,

G h t L uva i
en , d ls wh r
o n Th r an a l s ma y xamp l s f
e e e e . e e a re o n e e o

t h m i t h g a ll ri s f B rli Dr s d V i a Pa ri s L d
e n e e e o e n, I e en , en n , ,
on on . n

th eU i t d S ta t s th
n e b st r pr s e t a ti i i t h M tr p l i t a
e e e e en on s n e e o o n

M us um e Th r . a l s a f w xamp l s i t h N Y H i s t ri a l
e e are o e e e n e . . o c

S i t y R ms
oc e d th B st
oo M us um
,
an e o on e .
 C HA PTE R XVI I I
LATE FL E M I S H A ND BE L G I A N PA I N TI N G

S E VE N TE E N TH TO TH E TW E N TI E TH C E N TU R Y
BO O K S R E C O M ME ND E D " A s b e f o r e th e G en e r a l Bib l i o g r ap h y
a n d b oo ks at h e ad o f C hapt e r X VII , als o " B o d e , M as ter s of
D u tch a nd Flemi sh P a i n ti n g; B u schma n n , J a cqu es J or da en s;
C ust , Va n D yck ; D il lo n , Ru ben s; Fi e r e n s G e va e rt , J or daens ;
-

Van D yck ; Fr om e n ti n , O ld M a ster s of B elgi u m a nd H olla nd;

G eff r o y , Ru ben s; G e rrits , Ru ben s , zyn Tyd , e tc ; G u iff r ey , .

Van D yck ; Hass e lt , H i stoi r e de Ru ben s; M a n t z , A dr i en

B r ou w er ; M ich e l , Ru ben s; M u th e r , D i e B elgi sch e M a ler ei ;
Pe yr e , Ten i er s; R oo s e s , Ru ben s; C h efs d oeu vr es d A n toi n e Va n
’ ’

D yck ; S c hm idt D e g e n e r , A dr i en B r ouzver ; S t e v e n s o n , Ru ben s;

-

Va n d e n B ra n d e n , Gesch i eden i s der A n tw erpsch e S ch i lder sch ool;

Va n M a n d e r , L e L i vre des P ei n tr es .

L
F EM S H I I I
PA N T N G IN TH E S IXTE E NTH Y C E N TUR
I n t hi s c e n tu r y F l e mis h pai n ti n g b e cam e rath e r wid e ly
di ffus e d . T h e local sch oo ls at B r u g e s To ur n ai a n d , ,

e l s e w h e r e gav e plac e to t h e sch oo ls i n t h e l arg e citi e s l i k e

A n tw e r p a n d B r u ss e ls a n d th e c o mm e rcia l r e lati on s b e tw e e n
,

t h e L ow C o u n tri e s a n d Italy fi n al l y le d t o a cha n g e i n t h e c h a r

act e r o f th e n ativ e a r t M an y Fl e mis h pai n t e r s w e n t to Italy
.

fo r study r emain e d t h e r e fo r y e a r s a n d w h en fi n ally t h e y

, ,

r e tu rn e d to Fla n d e r s t h e y b ro ug h t wit h t h e m Italia n typ e s ,

f o r ms a n d m e t h o ds T h e r e was an att e mpt at first at assim

,
.

ila ti on taki n g w h at was e l e vat e d in Ita l ia n art a n d g r aft

i ng it upo n th e F l e mis h stalk but t h e r e r e s ul t e d a hybrid
—

art that w as n e it h e r o n e thi n g n o r t h e ot h e r thoug h skil

ful ly comp o s e d an d cu n n i ngly p u t tog e t h e r .
2 36 H S TO RI Y O F PA NT N GI I
I TALIA N IZ E D L
F E M NG S IItal ia n study was
" S u gg e sti o n of

giv e n i n th e w o rk o f s om e o f th e lat e Fl e mis h Pr imitiv e s but

t h e pai n t e r w h o first gav e positiv e d e m o n st r ati o n o f it was
J u s tu s of G h e n t (fl c H e w a s i n Italy for so ma n y
. .

y e a r s an d b e cam e so c ompl e t e ly Ita l ia n i n a r t t h at th e Fl e mi n g

i n h im is s e e n o nl y i n a n awkwa r d n e ss o f f o rm a n a n g u larity ,

of typ e a n d a min ut en e ss of fi n ish His e xta n t w o rks a r e scarc e

,
.

a n d a r e c o n fus e d i n t h e bargai n wit h t h e works o f M e lo zz o

, ,

da Forl i Ja n G o s s a rt (1 4 7 2 P 1 5 4 1 ) cal l e d M abus e fr o m his

.
—
,

n ativ e plac e o f Maub e u g e marks th e tra n siti o n styl e b e tt e r

,

tha n Ju stus o f G h e n t b e caus e l e ss e xt r e m e i n his Italia n fo l

l owi n g H e b r oug h t back f ro m Italy classic c omp o siti on
.
,

arc h it e ctur e n u d e figure s but t h e se h e gav e wit h a Fl e mish

, , ,

br u sh i n drawi n g c o l o r su r fac e A n d with r e alistic d e tail

, ,
. .

His t e ch n iq u e was a littl e ou t o f k e epi n g wit h th e h ist o rica l

ca n vas o f th e Italia n s T h e i n c on g r uity sh ows in th e larg e
.

A d o rati o n o f K i n gs i n th e N ati on al G all e ry L o n do n Th e ,

.

si ze o f th e c o mp o siti on r e n d e rs th e h a n dli n g p e tty an d in

suffi c i e n t S till G o ssa r t was a cl e v e r pai n t e r though h e lack e d
.
,

o rigi n ality a n d at tim e s app r o ach e s t h e a ff e ct e d e v en th e ,

d e cad e n t B e r n a r d va n O rl e y (1 4 9 3 1 5 4 2 ) w a s o f a similar
.
—

cast o f mi n d t o G o ssart H e w e n t t o Italy fr o m B r u ss el s .

o n t w o diff e r e n t o ccasi o n s may h av e m e t R ap h a e l ,

a n d was ,

u n d o u b t e dly i n flu e n c e d by th e w o rk o f b o th R apha e l a n d
M ic h e la n g e l o H e b o rr o w e d Italia n c o mpositi on arc h it e ctur e
.
, ,

typ e s a n d y e t a l ways r e tai n e d a p e c u liar Fl emish ta n g i n

,

h is w o r k H is n ud e fig u r e s a r e w e ll draw n acad e mically

.
,

p o s e d g r ac e f u lly arran g e d t h o ugh at tim e s cr o wd e d a n d

, ,

e xagg e rat e d i n m o v e m e n t C o r n e l i s va n C on i n xlo o (1 5 2 9

.

1 5 5 8 ) w a s ov e r —e lab o r at e i n arc h it e ctura l o r n am e n t as app e a r s ,

fr o m th e fe w pictu r e s by h im n ow in e xist e n c e but Fl emish ,

e n o u gh i n his typ e s .

I TAL IA N I M I TA TO R S " A ft e r t h e s e pai n t e r s cam e a group

o f Ita lia n i z e d Fl e mi n gs w h o w e r e l itt l e mor e tha n imitato r s
2 38 I
H S TO R Y O F PA N T N G I I
typ e s wit h muc h c o l o r a n d imposi n g c ompositi on but agai n a , ,

pai n t e r o f n o g r e at i n itial f o r c e H e was th e last mast e r of

.

R u b e n s a n d i n flu e n c e d his p u pi l i n l arg e n e ss o f f o r m i n fl o r id ,

col o r a n d i n fl u id h a n dl i n g A m b r o si u s Fr an ck e n (1 5 44
,
.

L u c a s d e H e e r e (1 5 3 4 D e ni s C al va e r t (1 5 4 0
S p r a n g e r (1 5 4 6 w e r e o th e r fo l l o w e r s o f Ital y
w h o l o st th e ir artistic s o u ls t o st r a n g e gods but w e r e n e v e r ,

t h e le ss skill e d pai n t e rs
,
.

PO R TRAI T A N D LA N D S C APE PA IN TE R S " T h e co n v e r t e d

R oma n ists in Fla n d e r s w e r e usually g oo d p o r t r ait pai n t e rs

a n d so too w e r e a gr o up o f m en w h o clun g t o Fl e mish
, ,

id e als an d w e r e n o t co n spicu o u sl y i n flu e n c e d by Italy .

A mo n g t h e s e latt e r w e r e W ill e m K e y (1 5 1 5 A d ri a e n
K e y (1 5 5 8 J u s te van C l e ve th e F O O 1 (1 5 1 8 N eu
c h a t e l (1 5 2 7 ? Bu t th e b e st o f t h e m all was A n toni o
M oro (1 5 1 9 H e t r av e l l e d about E ur op e a good d e al ,

was in R om e M adrid L o n d o n pai n ti n g n obility e v e ryw h e r e

, , ,

a n d e v e ryw h e r e l e avi n g a n i mpr e ss a n d a n i n flu e n c e H e was .

t h e m o st accomplis h e d a n d satisfacto r y p o rtrait pai n t e r of

h is tim e n e a r o f k in a r tistical ly t o H olb e i n t h o ugh op e n in g
,

t h e way fo r R ub e n s a n d Va n D yck His p o rtraits a r e e xact

.
,

truthf ul r e alistic f ul l o f charact e r an d y e t w e l l plac e d on th e

, , ,

ca n vas an d o ft e n d e co r ativ e ly b e autif ul i n th e ir d e tail Fr an s .

Po u r b u s I I (1 5 6 9 1 6 2 2 ) a l s o pai n t e d arist o cratic sitt e r s wit h

—

go o d r e sul ts b u t h e h ad n o t M o ro s dig n ity n or virility

’
.

W it h po r trait pai n t e rs mirrori n g th e fashi on s o f c o u r ts a n d

fig u r e pai n t e r s im itati n g Ita l y t h e r e w e r e stil l a fe w pai n t e rs
l e ft o n Fl e mish so il w h o did n ativ e t h e m e s i n a n ativ e way .

B e sid e s th e h o m e stayi n g p o rtrait pai n t e rs th e r e w e r e som e

-

n o tab l e la n dscapists a n d e pai nters M e n ti o n h as b e e n

gen r .

mad e O f th e E ld e r B ru eg h e l a n d his so n o f A e r tse n a n d o f , ,

T h e E ld e r B r u e g h e l s f o ll ow e r L u c a s va n V al ek
’
B e u c k e lae r .
,

e n b e r g h (1 4 o ? i a s ri s o f l a n dscap e s n o w i n t h e
5 n e e

Vi e nn a M u s e um sh ows a d e c o rativ e s e n s e t h o u g h h e is n o t
 LATE F E M SHL I A N D BE L G IA N I
PA N T N G I 2 39

st r o n g t e chn ical l y J o s s e d e M om p e r s (1 5 6 4 1 6 3 5 ) wit h

.
—

h is moun tain sc e n e s f o r c e d in t h e i r co n trasts o f dark f or e

,

g r oun d an d l ig h t distan c e p e rh aps se t th e e xampl e for suc

,

ce e di n g R e mb r a n dt e s q u e l a n dscap e s Pa u l B r i l (1 5 5 6 .

FI G I I I — R UB E NS RE S URRE CTI O N OF LZ U
A AR S
K F D U UM B L
. . . .

A I S E R - RIE RI CH M SE , E R IN .

small a n d mi n ut e in sty l e at fi r st a n d l at e r la rg e an d d e co r a ,

tiv e i n st e ad o f b e i n g i n flu e n c e d by Italy taught th e Italia n s

,

h is ow n V i e w of la n dscap e His w o rk was a littl e d ry an d .

fo rma l but g r ac e ful i n c omp o siti on .

S E VE N TE E N TH C E N TURY PA IN TI N G " T h is was t h e g r e at

-

c en tu ry of Fl emish pai n ti n g t h oug h th e pai n ti n g was n ot ,

240 I
H S TO R Y O F PA N T N G I I
en ti r e ly Fl emish i n form or t h ought T h e i n flu e n c e o f Ita l y .

h ad d o n e away with th e e arly sim p l icity si n c e rity a n d r e ligi ous , ,

pat h o s o f th e Va n E ycks D uri n g th e sixt e e n t h c e n t u ry

.

alm o st e v e rythi n g had r u n to imitati o n of R e n aissa n c e m e th o ds .

T h e n cam e a n e w mast e r g e n ius Ru b e n s (1 5 7 7 —

wh o
,

f o rm e d a n ew a r t fo u n d e d up on R aw disti n ct l y n o r t h e r n
.

i n charact e r R u b e n s ch o s e al l subj e cts f or h is br u sh but t h e

.
,

r e l igi ous th e m e pr obably occupi e d him mor e t h a n any o th e r

b e caus e most i n d e ma n d am o n g th e Fl e mis h ch u rch e s To .

this th e m e i n alta r pi e c e o r c e ili n g d e c o r ati on h e add e d littl e

-
,

o f G o t h ic s e n tim e n t but e v e rythi n g o f R e n aissa n c e spl e n d o r

, .

H i s a r t w a s m o r e mat e ria l tha n spirit u al m o r e brillia n t a n d ,

sta r tli n g in s e n s u o us qualiti e s suc h as l i n e a n d c ol o r tha n

, ,

c h armi n g by facial e xp r e ssi o n or t e n d e r f e el i n g Ye t h e was .

n o t with o ut f e e li n g m e n tal vig o r dramatic f o r c e H e d e

, ,
.

lig h t e d i n th e fi e rc e th e p ow e r f u l e v e n th e t r agic putti n g

, , ,

th em f o rt h wit h n o g r e at passi o n but with a bla ze o f b r il lia n t

c o l o r an d swift su r e ha n dl i ng D e co r ativ e ly h e was s o m e t h i n g
.

o f t h e Paol o Ve ro n e s e cast o f mi n d H e c o n c e iv e d t h i n gs .

larg e ly a n d pai n t e d th e m p r oporti o n at e l y la rg e T ita n ic

,
—

typ e s b r o ad sch e m e s a n d mass e s o f col o r g r e at sw e e pi n g

, ,

l i n e s o f b e a u ty O n e valu e o f this larg e n e ss w a s its ab ility

.

t o h o ld at a dista n c e u p o n wal l o r alta r H en ce wh en seen .

,

t o day c l o s e at ha n d i n m u s e ums p e op l e a r e apt t o thi n k

-
, , ,

R u b e n s s a r t c o ars e a n d g r o ss
’
.

T h e r e is n o p r e tti n e ss ab o u t h is typ e It is n o t e ff emi n at e .

o r s e n tim e n tal b u t r at h e r r o bust f u ll o f lif e a n d a n imal spirits

, , ,

f u ll o f bl oo d b o n e a n d m u s c l e of maj e stic dig n ity grac e

, , , ,

a n d pow e r a n d g l o wi n g with col o r

,
I n imagi n ati o n i n con .
,

c e p t i o n o f art pur e ly as art a n d n o t as a m e r e v e hicl e t o co n v e y

r e l ig i o u s o r myth o l og ical id e as i n m e n tal g r asp o f th e pict o ria l

,

w o rld R u b e n s sta n ds with T itia n a n d Ve lasqu e z i n t h e v e ry

,

fr o n t ra n k o f pai n t e rs A s a t e ch n icia n h e was u n e xc e ll e d

.
,
.

A mast e r o f c omp o siti o n m o d e lli n g a n d d r awi n g a mast e r o f

, , ,
242 I
H S TO R Y O F PA N T N G I I
p o rtraits scatt e r e d t h r o ug ho u t th e gall e r i e s o f E u r op e an d ,

attrib u t e d t o h im is simply ama zi n g H e was h e lp e d i n ma n y

,
.

o f his ca n vas e s by his p u pils a n d assist a n ts I n s e n di n g out .

w o rk fr o m h is sh O p h e fr e q u e n t ly w r o t e d o n e by my b e st
“

p u pil o r t o u ch e d by my o w n h an d
“
A ll o f t h is sh o p work
.
”
,

a n d ma n y c o pi e s a n d pictur e s e n ti r e ly by p u pils a n d follow e rs

,

a re n o w p u t d o w n arbitrarily as by R u b e n s T h e r e s u lt is .

v e r y c o n trad ict o ry gr o u ps o f pict ur e s call e d R u b e n s s i n alm o st ’

,

e v e ry E u r op e a n gall e ry S till i n spit e o f fa l s e attrib u ti on s

.
, ,

R u b e n s r e mai n s t h e gr e at e st pai n t e r o f th e N o rt h a full ,

r o u n d e d c ompl e t e g e n ius c o mparabl e t o T itia n in h is u n iv e r

, ,

sa li ty . His ma n y p u pils tho u g h e c h o i n g his m e t h o ds n e v e r

, ,

r o s e to his h e ig h t i n m e n tal o r art i stic grasp .

Va n D y c k (1 5 99 1 6 4 1 ) w a s his pri n cipal p u pil

—
H e fol .

l owe d R u b e n s cl o s e ly at fir st though i n a slight e r ma n n e r

’

t e c h n ically a n d with a h o tt e r fl e s h col o ri n g M a n y of h is

, .

fir st styl e pict u r e s hav e b e e n co n f u s e d wit h R u b e n s s w o r k

’
-

a n d a re n o w passi n g u n d e r R u b e n s s n am e A ft e r visiti n g
’
.

Italy h e t oo k u p with t h e styl e o f th e Ve n e tia n s L at e r i n .

,

E n gla n d a n d wit h pr o sp e rity h e b e cam e car e l e ss a n d l e ss

, ,

c e r tai n h e s e n t f o rth m u ch p u pils w o rk as h is o w n a n d h ad

,
’

ma n y o f h is w o rks c opi e d by assista n ts His ra n k is g iv e n h im .

n o t f o r his fig u re pi e c e s— T h e y w e r e n o t a l ways succ e ssfu l

.

l acki n g as th e y did i n imagi n ati o n a n d o rigi n ality a n d d o n e

with t o o m u ch sm o o th n e ss a n d p r e tti n e ss o f typ e a n d surfac e .

His b e st w o rk w a s his p o r t r aitur e for which h e b e cam e fam o us

, .

H e pai n t e d n obility i n e v e ry c o u n t r y o f E u r op e i n w h ic h h e
visit e d a n d w a s a p or trait pai n t e r of pow e r but n o t t o b e
-
,

plac e d in th e sam e r a n k with T itian R u b en s R emb r a n dt , , ,

a n d Ve lasq u e z His c h a r act e rs a r e grac e ful l y p o s e d dign i

.
,

fie d arist o cratic
,
T h e r e is a n obl e disti n cti on ab o u t th e m
.
,

a n d y e t e v e n this h as t h e f e e li n g o f b e i n g som e w h at a ff e ct e d .

T h e s e r e n e c o mplac e n cy o f his l o rds a n d ladi e s fi n ally b e cam e

a l m o st a ma n n e rism with h im t h o u g h n e v e r a disag r e e ab l e
,
 LA TE L
F E M SH I A ND BE L GIA N I
PA N T N G I 2 43

on e . di e d e a r ly a pai n t e r o f mark but n o t th e g r e at e st

He , ,

p o r t r ait pai n t e r of th e wo r ld as is som e tim e s said o f h im

-
, .

M a n y pupi l s follow e r s a n d assista n ts pai n t e d in h is styl e

, ,

a n d h av e l e ft po r t r aits that n ow pass cu rr e n t as Va n D y ck s

wit h n o g re at c r e dit to th e mast e r .

FI G . 1 1 3 .
— VA N DY K P
C . O RTRA IT . B RE RA , lfl L AN .

PUP IL S OF re w e r e a l arg e n umb e r of

RUBE N S " T he
R ub e n s s pupil s w h o l e a r n e d fr o m t h e i r mast e r a c e r tai n b r ush
’

facility but w e r e n o t suffi ci e n tly o r igi n al to mak e d e e p imp r e s

,

si on s . A b r ah am D i epe nb e e k e ( 1 59 6 —
1 67 C o r n e li s S ch u t

( 5 97
1 Q l
E r asm u s
l e n ue F r an s W o u (1 6 0 7
t e r s

(1 6 1 2 1 6 — w e r e e it h e r assista n ts or f o l l ow e r s of R ub e ns .

G e r ar d S e g h e r s o r Z e g e r s (1 5 9 1 1 6 5 1 ) was a pupil an d p ra c —
2 44 I
H S TO R Y O F PA NT N G I I
tically a R ub e n s imitat o r H e pa i n t e d sm o o t h s ur fac e s a n d
.

v e lv e ty c ol o rs but h is work is pr e tty a n d p o rc e lai n lik e

,
-
.

Th e od o r e van Th u ld e n (1 6 0 6 1 6 7 6 ) was a n o th e r R u b e n s —

f o ll ow e r s om e of w h os e pictur e s a re n ow d o i n g s e rvic e as
R u b e n se s i n E urop e a n gal l e ri e s G a s p ar d e C ray e r (1 5 8 5 .

1 6 6 9 ) th o ugh i n flu e n c e d by t h e g r e at mast e r h ad c o u rag e o f

his ow n but n o t t o o much str e n gth H e was a g o od craftsma n .

,

a facil e brush ma n y e t scarc e ly ro s e ab o v e m e d i o crity C or

, .

n e li s d e Vo s (1 5 8 5 1 6 5 1 ) h ad mo r e f o rc e tha n C ray e r
—
an d ,

m o r e i n d ep e n d en c e b u t h e w a s n o t a gr e at o rigi n al His
, .

p o r traits a re his b e st e n d e av o r C o s si e r s (1 6 00 1 6 7 1 ) an d .
—

R om b ou ts (1 5 9 7 1 6 3 7 ) w e r e p opular pai n t e r s of t h e tim e

—

with n o r e a l g e n ius in a r t .

W h e n R u b en s di e d t h e b e st pai n t e r l e ft w a s J o r d a e n s (1 5 93
H e w a s a pupi l o f Va n N o o r t a n d b e h o ld e n to R u b e n s ,

but a n o rigi n a l pai n t e r of i n dividuality a n d f o rc e H e t o o k .

h is subj e cts from actual lif e with larg e Fl emis h typ e s of th e

,

p e asa n t class pai n ti n g th em gl owi n g i n h e alth f u ll bl oo d e d

, ,
-
,

b u rsti n g with lif e a n d spi r it T h e r e is c o ars en e ss a n d e v e n

.

brutality ab o ut his a r t b u t als o p o sitiv e str e n gt h H e is a .

d r aftsma n mod e ll e r c o l o rist of n o m e a n ability a n d y e t wit h

, , , ,

a st ro n g d e c o rativ e s e n s e as wit n e ss th e Fe cu n di ty i n th e
W allac e C o ll e cti o n a n d agai n i n t h e B russ e ls M u s e um
, , .

C O LLAB O RA T O R S W I TH R UBE N S " A n umb e r o f pai n t e rs

of th e tim e c oll ab o rat e d wit h R ub e n s or at l e ast fur n ish e d

c e r tai n acc e ss o ry o bj e cts to R ub e n s s figu r e s L u cas va n ’
.

Ud e n (1 5 9 5 is supp o s e d t o hav e pai n t e d ma n y o f th e

back g r ou n d la n dscap e s i n R ub e n s s pict u r e s a n d it is almost ’
,

c e r tai n t h at h e pai n t e d a n u mb e r o f la n dscap e s with dimi n utiv e

figur e s n ow assig n e d to R ub e n s J an W i l d e n s (1 5 8 6 1 6 5 3) .
—

als o add e d l a n dscap e st i l l lif e a n d an imals to th e R ub e n s

,
-
,

pict u r e s Jan B r u e g h e l th e E l d e r (1 5 6 8
. k n ow n as
Ve lv e t B ru e gh e l is supp o s e d t o hav e pai n t e d fl ow e rs a n d o th e r
,

l a n dscap e f e atu r e s for R ub e n s s figur e s but h e w a s b e tt e r ’

,
2 46 H I S TO R Y I
O F PA N T N G I
D uk e s of T usca n y pai n t e d fo r th e m ma ny port r aits wit h
an d

a Va n D yck n obility o f air a n d a R u b e n s sm oo t h n e ss o f br u sh .

T h e r e w e r e ma n y pai n t e rs o f t h e tim e wit h a s im ilar m e n tal

a n d t e ch n ica l mak e u p G o n zal e s C oqu e s (1 6 1 8 1 6 8 4 ) was
- —
.

i n a diff e r e n t v e i n a n d pict u r e d small figu r e s i n i n t e ri o r s but

wit h a r e fi n em e n t a n d disti n cti o n i n cha r act e r i zati o n that
r e mi n d o n e o f Va n D yck H e did som e e xc e ll e n t smal l.

p o rtraits .

L ivi n g at th e sam e tim e wit h t h e s e m e n w a s a n o th e r gr o u p

o f pai n t e rs w h o w e r e e mp h atically o f t h e s o il b el i e v i n g i n ,

th e ms e lv e s a n d th e ir ow n cou n t ry a n d pict u ri n g sc e n e s f ro m
comm o nplac e l if e i n a man n e r q u it e th e ir o w n T h e s e w e r e .

L ittl e M ast e r s t h e gen r e pai n t e rs o f whom t h e r e w as

“ ”
th e , ,

a n e v e n str o n g e r r e pr e s e n tati o n app e ari n g c o n t e mp o r a n eo u sly

i n H o lla n d I n B e lgi u m th e r e w e r e n o t so ma n y n or s u c h
.

tal e n t e d m e n but s om e o f th e m w e r e v e ry i n t e r e sti n g in th e i r

,

w o rk as in th e i r subj e cts T e ni e r s th e You n g e r (1 6 1 0 1 6 9 0)

.

w as am o n g t h e fi r st o f th e m t o pict u r e i n a gen r e spirit p e as a n t , ,

b urgh e r al e wif e a n d n obl e ma n wit h Fl e mish i n t e riors a n d

, ,

l a n dscap e s N o thi n g e scap e d him as a subj e ct a n d y e t h is

.
,

b e st w o rk w a s shown in th e h a n dl i n g o f lo w lif e i n tav e r n s .

T h e r e is c o ars e w i t i n his w o r k but it is at o n e d f or by g oo d

,

c o l o r a n d facil e ha n dli n g H e was i n flu e n c e d by R ub e n s

.
,

though d e cid e dly diff e r e n t f r o m him in ma n y r e sp e cts " B r ou

w e r (1 6 0 6 1 6 3 8 ) has oft e n b e e n catal o gu e d with t h e D u tch
—

sch ool but h e r e ally b e lo n gs wit h T e n i e r s i n Fl a n d e r s H e

, ,
.

di e d e arly but l e ft a n umb e r o f pictur e s r e ma r kab l e fo r t h e ir

,

fat quality a n d th e i r b e autif u l c ol o r H e was n o t a m a n .

o f Italia n imagi n atio n b u t a pai n te r of l ow l if e wit h coa r s e

, ,

hu m o r a n d n o t t oo muc h good tast e y e t a sup e rb t e c hn icia n ,

a n d vastly b e y o n d ma n y o f h is littl e D utc h c o n t e mpo r a r i e s

at th e N o rt h T h e spir it th e lif e th e br e adth an d b e am of

.
, ,

B r o uw e r i n his small sk e tc h y w o rk a r e ast o n ishi n g T e n i e rs .

a n d B r o uw e r le d a scho o l a n d had ma n y fo ll ow e r s D avi d .

 LATE L
F E M SH I A ND BE L G IA N I
PA NT N G I 247

Ryck ae r t ( 1 61 2 a pupi l of T e n i e r s was o n e o f t h e b e st ,

of the m A t this tim e t h e r e w e r e also ma n y pai n t e rs of l a n d

.

scap e ma r i n e batt l e s still l if e in fac t Be lgium was aliv e

, , ,
- —

wit h pain t e s but n o n e of t h e m was suffici e n t l y g r e at t o

r —

call fo r in dividua l m en tio n M ost o f t h e m w e r e f oll o w e rs of

.

e it h e r H oll a n d or Ita l y a n d th e gist of t h e i r wo r k will b e spok e n

,

o f h e r e aft e r u n d e r D utc h pa in ti n g .

FI G . I I S .
— S TE V E NS . O N TH E S H O RE .

E IG H TE E N TH -C E N TUR Y PA I N TI N G " D e cli n e h ad se t in b e

fo r e th e s ev en t e e n t h c e n tu ry e n d e d Be lgium was to rn b y .

wa r s h e r c omm e rc e flagg e d h e r a r t spi r it s e e m e d bur n e d out

, ,
-
.

A l o n g l i n e of p e tty pai n t e r s f o l l ow e d w h o s e works cal l fo r

silen c e O n e m an s eem e d to sta n d out fo r th e n ob l e r sty l e of
.
248 I
H S TO R Y I
O F PA N T N G I
R ub ens ,
V e rh ag e n (1 7 2 8 a fig u r e an d p o rtrait pai n t e r -

of tal e n t .

I
N N E TE E N TH A ND TW E N T E TH I
Y PA I N TI N G C E N TUR °

D uri n g t h is p e r i o d Be lgium has b e e n so cl o s e ly r e lat e d

t o Fr a n c e that t h e in fl u e n c e o f th e larg e r c o u n try h as
b e e n quit e appa r e n t up o n th e art o f th e small e r I n 1 8 1 6 .

D avid t h e l e ad e r of th e Fr e n c h classic sch o o l s e n t i n t o e xil e

’

, ,

by t h e R e st o rati on s e ttl e d at B r u ss e ls a n d imm e diat e ly dr e w

, ,

ar o u n d him ma n y pupi l s His i n flu e n c e w a s f e lt at o n c e a n d

.
,

Fr a n goi s N a v e z (1 7 8 7 1 8 6 9) w a s t h e chi e f o n e am o n g his p u pils

—

t o e sta b lis h t h e r e viv e d classic a r t i n B e lgi u m I n 1 8 3 0 wit h .

,

B e lgia n i n d e p e n d e n c e a n d almost c o n cu r r e n tly with t h e r o ma n

tic m o v e m e n t i n Fr a n c e th e r e b e ga n a r oma n tic m o v e m e n t
,

i n B elgium wit h W a pp e r s (1 8 0 3 His art w a s i n fl u e n c e d

som ewh at by R ub e n s ; but lik e th e Paris r oma n ticists h e , ,

ch o s e th e dramatic subj e ct o f th e tim e s a n d tr e at e d it m o r e fo r

c olor t h a n fo r li n e H e dr e w a n umb e r o f f oll ow e rs t o h ims e lf
.
,

but th e m ov e m e n t was n o t m o r e lasti n g tha n i n Fr a n c e .

W i e r tz (1 8 0 6 1 86 —
w h o s e c o ll e cti o n o f w o rks is to b e s e e n
i n Bruss el s w as a partial e xpositi on of r o ma n ticism mix e d
,

with a what n o t o f R u b e n s a n d som e e cc e n tri c ity e n tir e ly his

-

ow n . L at e r o n cam e a c o mparativ e ly n ew m a n L o u i s G a ll ai t ,

(1 8 1 0 w h o h e ld i n B russ e ls substa n tially t h e sam e

positi o n that D e lar o c h e did i n Paris His art w a s e cl e ctic .

a n d n e v e r st r o n g t h o ugh h e had ma n y p u pils at B r u ss e ls a n d

, ,

start e d th e r e a rivalry to W app e r s at A n tw e rp L e y s (1 8 1 5 .

1 86 9 ) h o lds a rath e r u n iqu e p o siti o n i n Be lgia n art by r e as o n

o f his vari o u s styl e s i n whic h h e h arks back t o e arli e r m e n He .

at first f oll ow e d R e mbra n dt Pi e t e r d e H oo ch a n d o th e r e arly

, ,

pai n t e rs T h e n aft e r a study o f th e old G e rma n pai n t e rs lik e

.
,

C ra n ach h e d e v e l op e d a n a r chaic styl e pr o duci n g a G o thic

, ,

q u ai n t n e ss o f li n e a n d c omp o siti o n mi ngl e d with old Fl e mish ,

c o l o ri ng T h e r e s u lt was s om e thi n g p opula r but n o t o rigi n a l

.
,

or fa r r e ac h i n g t h o ugh t e c h n ically w e ll do n e L eys h a d

-
,
.
 C H A PTE R X IX
D UT C H I
PA NT N G I
BO O K S R E C O MM E N D E D " A s b e f o r e B o d e , Fr o m e n ti n , M ut h e r ,
e t al ;
. B e rc h e n h o ff , J oh a n n es B osboom; B la n c , Q i u vr e de
Rembr a nd t; B o d e , A dr i a a n va n O stad e; F r a nz H a ls u nd s ei n e
S ch u le; S tudi en zu r Gesch i ch te der H ollandi sch en M a ler ei ;
'

B r o w n , Rembr a n dt; B urg e r (T h T h o r e) , L es M u sées de la

.

H olla nd e; Fo n ta in a s, Fr a n s H a ls; Fr i e d lan d e r , M ei ster tver k e

der n i eder landi sch en M a lerei ; G o d o y , J a cob M a r i s , s a vi e et
'

s es oeu vr es ; Ha l e , Ver meer of D elft; Hava r d , Th e D u tch S ch ool

of P a i n ti n g; H e lle n a , Ger a rd Ter bor ch ; H o fst e d e d e G r o o t ,

J a n Ve r meer van D elft en C a r el F a br i ti u s; H oub ra k e n , Vi e
des P ei n tr es H olla nd a i s; I mm er z e e l, D e L even en W er k en der
H olla ndsch e en Vlaa msch e Ku n s t S ch ilder s; M ich e l , P a u l
P otter ; Rem br a n dt; Gera r d Ter bu r g et sa F a mi lle; M o e s , F r a ns
H a ls; N e tsc h e r e t Z ilc k e n , J os ef I sr aels , l h om me et l a r ti ste;
’ ’

R iat , Rysda él; R o os e s , D u tch P a i n ter s of th e N i n eteen th C en

tu r y; Va le n ti n er , Th e A r t of th e L ow C ou n tr i es ; Va n d e n
W illig e n , L es A r ti stes de H aa rlem , Va n D yk e , O ld D u tch a nd
Flemi sh M aster s; Va n M a n d e r , L e L i vr e des P ei n tr es; L even
der N ederla n dsch e en H oogdu i tsch e S ch i lder s; Va n Z yp e , Ver
meer of D elft; Ve rh a e r e n , Rembr a nd t; Vo sm a er , Rembr a ndt, sa
Vi e et s es (E u vr es; W e strh e e n e , J a n S teen , Etud e s u r l A r t e n
’

H olla nd e .

TH E D UTCH PE O PLE A N D TH E IR AR T " T h o ug h Ho l

l a n d p rod u c e d a som ewh at di ff e r e n t q u ality o f art from
,

F la n d e r s y e t i n ma n y r e sp e cts t h e p e o pl e at th e n ort h w e r e
,

n o t v e ry diff e r e n t f r om t h os e at t h e s o u th o f t h e N e t h e r l a n ds
.

T h e y w e r e p e rhaps l e ss v e rsatil e l e ss volati l e l e ss lik e t h e

, ,

F r e n ch a n d mo r e lik e t h e G e rma n s Fon d o f h om e ly j o ys

.

a n d t h e qui e t p e ac e O f t o w n a n d d o m e stic lif e th e D utc h w e r e

,

matt e r of fact i n all thi n gs st u rdy h o n e st c o ars e at t im e s

- —
, , , ,
 D UT CH I
PA N T N G I 251

suflfici e n t un to t h e ms e l v e s a n d cari n g l ittl e for w h at o t h e r

,

p e opl e did J ust so wit h t h e i r pain t e r s T h e y w e r e r e alistic

. .

at t i m e s t o g r o t e s q u en e ss L itt l e t ro ubl e d wit h fin e p o e tic

.

f r en z i e s t h e y pai n t e d t h e i r ow n l iv e s in st r e e t t ow n hal l ,
-
,

tav e rn k itch e n an d m e adow c on sci o us t h at it was g o od

, , ,

b e caus e t r u e t o t h ems e l v e s .

A t fi r st H o lla n d app e a r s m e r g e d wit h Fl a n d e r s Bot h .

coun t r i e s b e l on g e d to th e D uchy o f B urg u n dy t h en pass e d ,

t o th e Habsb u rgs a n d cam e u n d e r M aximilia n a n d C harl e s V .

T h e pr o vin c e s at th e n o r th w e r e n o t t h e n s e ri o usly r e gard e d as

importan t e it h e r politically or i n t e ll e ctually an d p e rhaps , ,

f r om iso lati on a st u r dy D u tc h c h aract e r d e v e l op e d v e r y e a r ly .

T h is was m o r e or l e ss in flu e n c e d a n d t r ain e d as r e ga r ds art in

, , ,

pa r tic u l a r by Fla n d e r s at th e S o u th an d th e R h in e pr o v in c e s
,

o n t h e E ast T h e Va n E ycks le d t h e way but t h e r e was also

.

l e adin g fr o m th e S ch ool of C ol og n e T h e e arly D u tch pai n t e rs .

acc ept e d b o t h an d y e t always r e tai n e d s om e thi n g o f t h e i r

n ativ e D utc h p o i n t O f vi e w L at e r on w h e n t h e Fl e mis h
.

pain t e r s f e ll to Copyi n g Italy s o m e of t h e D u tch f o ll ow e d

t h e m but with n o gr e at e n t h usiasm S u dd enl y at th e b e gi n
,
.
,

n i n g o f t h e s e v e n t e e n th c e n tury wh e n H o lla n d h ad gai n e d

,

p ol itical in d ep en d e n c e D utch art struck off by its e lf b e cam e

, ,

o r igin al b e cam e fam ous It pictur e d n ativ e lif e with v e rv e

,
.
,

skill k e e n n e ss o f i n sight a n d fin e pictorial vi e w L im it e d it

, ,
.

was ; it n e v e r s o ar e d lik e Italian art n e v e r b e cam e u n iv e rsa l ,

o r w o rld e mb r aci n g It was dist in ct in divid u al n ati o n al

-
.
, , ,

a p o r trait of th e la n d a n d th e p e opl e s om e t h i n g that sp o k e ,

f or H o l l a n d but o f littl e b e y on d it
,
.

I n subj e ct th e r e w e r e f e w h ist o rica l ca n vas e s suc h as t h e

Ita l ian s a n d Fr en c h p r o duc e d T h e n e a r e st appr o ach to t h e m
.

w e r e th e pai n ti n gs of sh ootin g c o mpa n i e s o r gro u ps of b u rg h e rs ,

a n d sy n dics a n d th e s e w e r e m e r e ly e lab o r atio n s a n d e n larg e

,

m e n ts O f th e p o rt r ait w h ich th e D utc h l o v e d b e st o f all A s .

a wh ol e t h e i r subj e cts w e r e si n g l e figur e s o r small gro u ps in

2 5 2 H S TO R I Y O F PA N T N G I I
i n t e rio r s q u i e t sc e n e s family c o n f e r e n c e s sm o k e rs card
, , , ,

play e rs dr i n k e rs la n dscap e s cattl e still lif e archit e ct u ral

, , , ,
-
,

pi e c e s W h e n th ey u n d e r to o k th e larg e ca n vas wit h ma n y fig

.

u re s t h e y w e re o ft e n u n satisfacto r y E v en R emb r a n dt was S O

,
. .

FI G I I O —
'

O U W A TE R RE S U LZ U
R R E C TI O N O F A AR S
K F D MU UM B L
. . . .

A I S E R - RI E RI C H SE ,
E R I N.

c h i e f m e dium was oil us e d u p o n pa n e l o r can vas

Th e ,
.

F r e sco w a s pr o bably u s e d i n th e e a r ly days b u t th e climat e ,

was t oo damp fo r it an d it was aba n d on e d It was p e r h aps .

th e damp n e ss of t h e n o rth e r n climat e that le d t o t h e adapta

tio n o f th e o il m e d ium so m e t h i n g th e Va n E ycks a re c r e dit e d
,

wit h I n a ug u rati n g tho ugh th e y h ad m e re l y p e rf e ct e d its u se

,
.
2 54 I
H S TO R Y O F PA NT N G I I
p o rta n c e o f th e w o rk ascrib e d t o t h em It is compa r ab l e to .

that of th e Va n E ycks a n d Van d e r W eyd e n W e h av e n o .

n am e s o r w o rks by t h e i r co n t e mpo r a r i e s of a n y importa n c e ,

sav e th e M ast e r of th e Vi rg o i n t e r Vi rg i n e s about wh om w e

k n ow l itt l e N o doubt t h e r e w e r e at t h is tim e ma n y pain t e r s
.

at Haa r l em L e yd en , ,

a n d e l s e w h e r e but t h eir ,

work h as b e e n lost or
n ow pass e s u n d e r ot h e r

n am e s .

E n g e lb r e c h t s e n

(1 4 6 8 P 1 5 33) -
though
b o r n at L e yd e n an d
sa i d t o hav e b e e n a stu
d e n t of th e Va n E ycks ’

w or k s s e e m s t o h av e
s om e thi n g of th e R hi ne
pai n t e rs in h is brill ia n t
c o l o r as w e l l as in his
c o n t o r t e d figur e s T h e re .

is t ragic p ow e r an d
w on d e rf u l d ept h o f c ol o r
i n h is pictur e s H e was .

t h e mast e r o f L u ca s van
L e yd e n (1 4 9 4 th e
f ri e n d of h t D ii rer
A lbr e c ,

a n d a pai n t e r o f muc h
FI G 1 1 7 LU CA S VA N L YD
E EN D
M A O NNA
a b i li ty H e h a d s e v e ra l
K F D
.

U B L
. . .

AI S E R - R E I RI CH M US E M, ER IN .

styl e s o f pa i n t i ng a n d
h is work has in c o n s e q u e n c e b e e n c on f u s e d with that of
. ,

o th e rs —
Bo sch fo r e xampl e A t tim e s h e is d e cid e dly Fl e m
.

ish a n d th e n agai n half G e rma n ic b u t always h e is a skil l e d ,

D utchma n pai n ti ng fr e e ly a n d y e t sur e ly wit h a p e c u lia r

, ,

quality o f c ol o r a n d a fla k e y h a n dli n g o f th e br u sh S o m e
,
.
 D UT C H I
PA N T N G I 2 55

of hi s wo r ks (th e M ado nn a an d C hil d at Be rl i n) sugg e st th e in

flu en c e of D iI r e r C orn e li s van O o s ts an e n (1 4 7 7 P was
’

a pain t e r an d en g r av e r wo r kin g at A mst e r dam at th e sam e

tim e t h at L ucas v an L e yd e n w o rk e d at L e yd en His p er so n .

a l ity is still sh adowy in a r t h ist o r y t h o ug h th e wo rk att r ibut e d

-

t o h im is p o sitiv e e n oug h T h e C a l va r y in th e A mst e r dam

.

G a ll e r y is on e o f h is b e st w o r ks full o f sin c e r ity g oo d co l o r , ,

a n d g o od w o r kma n ship S o m e o f h is skill wit h som e of h is

.

n aiv e awkwardn e ss i n figu r e s w e r e pass e d o n t o h is pupil

Jan ,

S cor el J
. a n M os t a e r t (1 4 74 1 5 suppose d by s o m e to
—

b e th e M a ste r of O ul tre m on t was a co n t e mpo r a ry of C o r n e l is

,

but a l e ss impo r tan t pain t e r .

S I XTE E N TH CE N TURY - PA I N TIN G " Th is c e n tu r y was

ma r k e d in D utc h a r t b e caus e of th e sp r e ad of Ita l ian id eals
a n d m e t h o ds A S in Flan d e r s th e maj o r ity o f pai n t e r s mad e
.

th e Italia n t o u r a n d f e ll in l o v e wit h Italia n f o r m A curious .

amal gam was th e r e su lt o f t h e i r e c l e cticism S om e pain t e r s .

cam e back t o th e N e t h e r l an ds an d p r oduc e d wo r k of ast o n ish

i n g fo r c e w o r k D u tc h in spir it but Ita l ia n in fo r m S c or e l .

( 49 5 5 ) 6 was f t h e most p r o m i n e n t o f t h e s e A ft e r
—
1 1 2 o n e o .

studyin g un d e r C o rn e lis v an O o stsan e n h e was att r act e d by th e

w o r k of M abus e at Utr e cht w e n t t o Italy t r av ell e d t hr o ug h
, ,

th e E ast acq ui r e d muc h k n o w l e dg e o f Ita l ia n a r t a n d b e cam e

, ,

a l e a rn e d pain t e r His dr awi n g an d hi s c o l o r a r e bot h e xc e l

.

l en t an d wit h t h e m h e sh ows a v e ry str on g D utch in dividual ity .

T h e r e is a f o r c e f u l a n gul a r ity i n h is li n e that is m o st attractiv e .

His wo r k is muc h c on fuse d wit h t h at of pupil s a n d f o l l o w e r s

o f w h o m t h e r e w e r e a n u mb e r T h e b e st O f th e m was H e e m s
.

k e rek (1 4 9 8 1 5 74 ) a mast e r o f prodigi o us str e n gt h i n drawi n g

—
,

typ e an d f e e l in g t h i n gs w h ic h h e h ad e vid en tly imbib e d

,

fr om M ic h e l an g e l o at R om e an d h e ight e n e d by h is ow n N e t h e r
l an d sob r i e ty o f m oo d S om e of h is w o rk at Haa rl em A mst e r
.
,

dam an d th e Hagu e ca n h a r dly b e r at e d t oo h igh ly in its

,

fin e figu r e s e xc e ll en t dr ap e r i e s sp l en did co l o r a n d aust e r e

, , ,
 5 6 I
H S TO R Y I
O F PA N T N G I
spirit .It has n e v e r r e c e iv e d its just m e e d o f praise G oltzi u s .

( 55 8 6 6 ) is t i t h e sam e class with H e e m sk e r c k t h oug h

—
1 1 1 n o n
,

h e r e c e iv e d a sim ilar sch oo li n g i n t h i n gs Italia n H e r epr o .

d u c e d o n ly th e o u t e r f o rm o f Italia n a r t a n d was a n u n all oy e d

M a n n e rist wh e r e as S c o re l a n d H e em sk e r ck n e v e r lost t h e i r
N e th e r lan d i n divid u aliti e s C o rn e li s van H a ar l e m (1 5 6 2
.

FI G 1 1 8 — H AL s AL UG G V L
HI N CA A IE R W LL
A A CE

LL L D
. . . .

CO E C TI O N , ON ON .

1 6 38) h e lp e d Italia n imitati o n in th e N e th e r l a n ds but

on th e
pr o d u c e d l i ttl e art o f imp o rta n c e ; a n d L a s tm a n (1 5 8 3 1 6 33) —

is n o tic e abl e o n ly b e cause h e w a s Italia n trai n e d an d may hav e

impart e d s om e of that t r ai n i n g t o h is gr e at pup il R e mb r an dt ,
.

S E VE N TE E N TH C E N TURY " Be gi n n i n g with t h e fi r st quart e r

of this c e n tury cam e th e g r e at a r t of th e D utc h p eop l e foun d e d ,

2 5 8 I
H S TO R Y O F PA N T N GI I
pai n t e rs M a n y o f t h e smili n g b oy pictu r e s assign e d to Ha l s
.

w e r e d o n e by h is s o n s o r by J u d i th L e y s te r (I 6 O O ?
a n o th e r pupil a n d imitato r T h o ug h e xc e l l e n t p o r trait .

pai n t e rs R ave s te yn (1 5 73 ? I 6 S 7) an d D e K e y s e r (1 5 9 5 ? 1 6 6 7)
,
— —

d o n o t p ro v o k e e n thusiasm T h e y w e r e q u i e t co n s e rvativ e
.
, ,

dig n ifi e d pai n ti ng civic gua r ds an d s o ci e ti e s wit h a c l e v e r

,

b r ush a n d som e tim e s

l ive ly c ol o r givi n g th e ,

trut h of p h ysiog nomy ,

but n o t wit h t h at v e r v e
of th e a r tist so con sp ic
u o u s i n Ha l s n or wit h ,

that u n ity o f th e g r oup

so e ss e n tia l in th e mak
i n g of a pictur e T h ey .

w e r e h ow e v e r st e rli n g , ,

p o r trait pai n t e r s an d m e n
of pr on o u n c e d abil ity .

T h e n e xt m a n i n ch r o n
o l o gical o r d e r is R e m -
b r a n d t (1 6 0 6 1 6 6 9 xfh e
f
h i
fl

g r e at e st pai n t e r in D utc h
a r t H e w a s a pupil of .

S w an e nb u r ch a n d L ast
m a n b u t h is gr e at k n owl
FI G M D P RE M
B RA NG O RTRA I T H ER I TA E,
,

e dg e o f n at u r e a n d h is
9 1 1 T

P G D
. . . .

E TR O RA .

c r aft cam e larg e ly fr o m

t h e di r e ct study o f t h e mod e l S e ttl e d at A mst e r dam h e .
,

q u ickly r o s e t o fam e had a l a rg e f ol lowi n g o f pupils a n d

, ,

h is i n fl u e n c e w a s f e lt th r o u g h all D utch pai n ti n g Th e .

p o rtrait was e mphatically his str on g e st work T h e man y .

fig u r e d gr o u p h e was n o t a l ways succ e ssf u l i n c omp o si n g

or lighti n g His m e t h o d o f work r ath e r fitt e d h im fo r th e
.

p o rtrait a n d u n fitte d h im fo r th e l a rg e h istorica l pi e c e .

 D UT CH PA N T N G I I 259

He buil t up th e impo r ta n c e of c e r tai n f e a t u r e s by d r ag

gi n g down al l o t h e r f e atu r e s Th is was l a rg e l y s ho wn in hi s
.

h an dl in g o f ill umin atio n S t ro n g i n a few h ig h l igh ts on

.

c h e e k chin o r w h it e l in e n th e r e st o f th e pictur e was sub

, , ,

m e rg e d in sh ad ow un d e r whi c h c ol o r was un m e r cifully sac r i

,

fic e d . T h is was n o t th e b e st m e t h od fo r a l a r g e ma n y fig u r e d ,
-

pi e c e but w as sin g ul arly w e l l suit e d to th e p o rtrait It p ro

,
.

d u c e d st r e n gt h by c on t r ast Fo r c e d it was un do ub t e dl y
” “
.
,

a n d n o t always t r u e t o n atur e y e t n e v e r t h e l e ss most p o t e n t,

i n R e mbra n dt s h a n ds H e was a n a r bit r a r y t h oug h absolut e

’
.

mast e r o f lig h t an d sh ad e an d was u n usual ly effe ctiv e in

- -
,

l umi n o us an d t r a n spa r e n t S h adows I n col o r h e was again .

a rbit r a r y but fo r c e ful an d h a rm on i o us I n b r ush wo r k h e .

-

was at t im e s l ab o r e d but a l m o st a l ways eff e ctiv e

,
.

M e n tally h e was a m a n k e e n t o o bs e rv e ass imi l at e a n d , ,

e xp r e ss his impr e ssio n s i n a f ew simpl e t r ut h s His con .

c ep t i o n w as l o cali z e d wit h his o w n p eo pl e a n d tim e (h e n e v e r

buil t up th e imagi n a r y or f o ll ow e d Italy) an d ye t in t o typ e s ,

tak en fr om th e st r e e ts an d sh ops o f A mst e r dam h e i n fus e d th e

v e ry l a rg e st hu man ity thr o u gh h is i n h e r en t sympat h y wit h
m an . D ra matic e v e n tragic h e was ; y e t t h is was n o t so
, ,

appa r e n t in v e h em e n t acti on as in passion at e e xpr e ssio n H e .

h ad a pow e rful way of strik i n g un iv e r sa l t ruths th rough th e

h uma n fac e th e tu rn e d h e ad b en t b o dy or o utst r e tch e d
, , ,

h an d His p e opl e h av e c h aract e r dig n ity a n d a p e rv ad

.
, ,

i n g f ee l i n g t h at th e y a r e th e s e r i o us typ e s of th e D utc h
r ac e p eopl e o f substa n tia l p h ysi qu e S l o w in t h oug h t
—
,

a n d impuls e y e
,
t capabl e of f e e l i n g compr e h e n d i n g e n j o y , ,

in g suf f e r i n g
,
.

His la n dscap e s agai n w e r e a sy n t h e sis of al l l a n dscap e s

, , ,

a gr o upi n g O f th e gr e at truths o f l igh t ai r sh ad ow spac e , , , .

Wh at ev e r h e tur n e d his h a n d t o was tr e at e d wit h t h at b r e adt h

of vi e w t h at o v e rlook e d th e littl e a n d g r asp e d th e g r e at H e .

pain t e d man y subj e cts His e ar l i e st wo r k dat e s f r om 1 6 2 7

.
,
2 60 I
H S TO R Y I
O F PA NT N G I
an d is a litt l e h a r d a n d sha r p i n d e tail a n d co l d i n c o l ori n g .

A ft e r 1 6 5 4 h e gr e w br o ad e r i n ha n dli n g a n d wa r m e r in to n e ,

r u n n i n g to gold e n br o w n s a n d t oward th e e n d o f h is car e e r

, , ,

t o rath e r h o t t o n e s His lif e w a s e mbitt e r e d by ma n y mis

.

fo r tu n e s b u t th e s e n e v e r s e e m to h av e a ff e ct e d his art e xc ept

,

t o d e e p e n it H e pai n t e d o n t o th e last c o n vi n c e d that h is

.
,

o w n vi e w w a s t h e tru e o n e a n d p r o d u ci n g works that ra n k

,

s e c o n d to n o n e i n th e hist o ry o f pai n ti n g .

R e mb r a n dt s i n flu e n c e up o n D utc h a r t w a s fa r r e ac h i n g
’
-
,

a n d app e ar e d imm e diat e ly i n t h e w o rks o f h is ma n y p u pils .

T h e y all f o ll ow e d his m e th o ds o f h a n dli n g lig h t a n d shad e - -

,

but n o o n e of t h e m e v e r e q u all e d him th oug h th ey p ro d u c e d ,

w o rk of m u ch m e rit U n fortu n at e ly th e c u pidity o f d e al e rs

.

a n d t h e f o lly o f c o ll e ct o rs h as succ e e d e d i n placi n g m o st o f t h e

pupils w o rks u n d e r th e n am e of th e mast e r I n th e E u r o p e a n

’
.

gall e ri e s th e r e a r e a hu n dr e d pict u r e s u n d e r th e n am e of R em
bra n dt to e v e r y t e n u n d e r th e n am e s o f h is tw e n ty p u pils a n d
imitat o rs B ol (1 6 1 1 1 6 8 0) was c h i efly a p o rtrait pa i n t e r
.
— -
,

with a p e rvadi ng y e ll ow to n e a n d som e pall o r o f fle sh c ol o ri n g -

a m a n o f ability w h o b e cam e sm oo t h a n d ma nn e r e d i n his

l at e w o rk Fli n ck (1 6 1 5 1 6 6 0) at on e tim e f o llow e d R em
.
—

b r a n dt so cl o s e ly that h is w o rk h as pass e d a n d st ill pass e s ,

for that of th e mast e r A lm o st al l o f his e arly w o rk is p u t

.

d ow n to R e mbra n dt N e xt t o E e ckh o ut h e w a s pr obably

.

th e n e ar e st t o R e mb r a n dt i n m e th o ds o f all t h e p u pils E e ck .

h o u t (1 6 2 1 1 6 7 4 ) w a s r e ally a R e mbra n dt imitat o r a n d y e t

—

h e had a w ay o f ha n dli n g th e br u s h p e c u liarly h is ow n He .

was a pai n t e r o f much forc e at tim e s a n d did pict ur e s n o t u n

w o rthy O f R e mbra n dt B a ck e r (1 6 0 8 ? 1 6
. t oo i n h is e a r ly
—
,

ma n n e r f o ll o w e d R e mb r a n dt so cl o s e ly that h e is o ft e n c o n
f u s e d with th e mast e r H e w a s a p ow e rf u l pai n t e r o f p o r t r aits
.

aft e r th e R e mbra n dt m e th o d M a e s (1 6 3 2 1 6 9 3) was a .

—

succ e ssf u l ma n ag e r o f lig ht aft e r th e sch oo l f o rm u la a n d suc ,

c e e d e d v e r y w e ll with warmth a n d rich n e ss o f c o l o r e sp e cia ll y ,

262 I
H S TO R Y O F PA NT N G I I
to h av e fo ll ow e d m o r e th e po r trait sty l e o f D e Ke ys e r H e .

was a r e alistic pr e cis e pai n t e r wit h muc h e xc e l l e n c e of mod e l

, ,

l i ng i n h e ad a n d h a n ds a n d wit h ca r riag e a n d dig n ity in th e

,

figur e I n c ompositi o n h e h a r dl y h e l d h is c h a r act e r s i n g r oup

.

owi n g to a sac r ific e of va l u e s an d i n co l o r a n d su r fac e h e was

,

o ft e n w e ak .

TH E G E N RE PA IN TER S " T h is h e adi n g e mb r ac e s t h os e w h o

may b e call e d th e L itt l e D utc hm e n b e caus e o f th e sma ll

“ ”
,

scal e o f t h e i r pictu r e s an d t h ei r gen re subj e cts G e r ar d D ou .

.

( 31 6 1
—
1 6 75 ) is i n dicativ e of t h e c l ass wit h out ful l y r epr e s e n t
i n g it. H e was a pupil of R e mb r a n dt but h is wo r k gav e l itt l e ,

r e po r t of t h is It w a s smal l e r m o r e d e licat e in d e tail mo re

.
, ,

p e tty i n co n c eptio n H e was a m an g r e at in l itt l e t h i n gs

.
,

o n e who wast e d st r e n gt h o n th e mi n uti ae of d r e ss o r tabl e c l ot h ,

-
,

o r t h e t e xtu r e of fu r n itu r e wit h o ut graspi n g t h e mass o r co l o r

sig nifica n c e o f th e w h ol e sc e n e T h e re was i n fi n it e d e tail.

about h is w o r k a n d that gav e it p op ul arity ; but as a r t it h el d

, ,

a n d h o l ds t o day litt l e h igh e r p l ac e t h a n th e wo r k o f Van

,

M i e ri s (1 6 3 5 N e tsch e r (1 6 3 9 o r S ch al ck e n
( 31 6 4 al l o f w h o m p r oduc ed t h e i n t e r io r pi e c e wit h
figur e s e l abo r at e i n accid e n tal e ff e cts A d ri a e n van O sta d e .

(1 6 1 0 1 6 8
—
th o ug h d e ali n g wit h th e sma ll ca n vas an d po r ,

t r ayi n g p e asa n t lif e wit h p e r haps u n n e c e ssa r y coa r s e ne ss ,

w a s a muc h st r o n g e r pai n t e r t h a n t h e m e n just m e n ti o n e d .

W it h litt l e d e licacy i n c h o ic e o f s u bj e ct h e h ad muc h d e licacy

i n c o l o r tast e i n arra n g e m e n t a n d skill i n h a n dl i n g
, ,
His .

drawi n g a n d mod ell i n g w e r e e xc ell en t a n d his b r ush work was

fr e e a n d v e ry accu r at e His br o t h e r I s a a c va n O s ta d e (1 6 2 1
.

1 6 4 9 ) pai n t e d figu r e s with l a n dscap e but was a l e ss fo r c e ful

p e rso n ality tha n A dria e n .

By fa r th e b e st pai n t e r amo n g all th e L itt l e D utc h m e n

was Te r b o r c h (1 6 1 7 a pai n t e r o f i n t e r i o r s small po r ,

t r aits c o n v e rsati on pictur e s an d th e l ik e T houg h of dimi n

, ,
.

utiv e scal e h is w or k h as th e l arg e n e ss of vi e w c h a r act e r istic

 D UTC H I
PA NT N G I 2 63

of g en ius ,
an d ski ll e d t e ch n iqu e o f a t h o r ough c r aftsman
th e .

T e rb or ch was a t r av e ll e d m an visiti n g Ita l y w h e r e h e studi e d

, ,

T itia n r e tu r n in g to Holl a n d to study R e mb r a n dt fi n a ll y at

, ,

M ad r id studyin g Ve l asqu ez H e was a pai n t e r o f muc h cul t

.

u r e a n d t h e k ey n ot e of h is ar t is r e fi n e m e n t
,
-
Q ui e t a n d .

FI G 1 21 — TE RB O RCH TH E CO N C E RT K F D
AI S E R - RI E RI CH
U U B L
. . . .

M SE M , E R IN .

n ifi e d he car r i e d tast e t hr o ug h a ll bra n c h e s of h is art I n .

subj e ct h e was r ath e r e l e vat e d in colo r subd u e d wit h b r o k en

,

to n e s in comp o siti o n simpl e i n b r ush w o rk su r e a n d ye t

, ,
-
,

un obt r usiv e S el e ctio n i n his c h aract e rs was follow e d by

.

r e s e rv e i n usi n g th e m D e tail was n o t v e ry appar en t A

. .

f ew p e op l e wit h s o m e acc e sso r y obj e cts w e r e all that h e re

q ui r e d t o mak e a pictur e Pe r h aps h is b e st q ua l iti e s app e a r
.
2 64 I
H S TO R Y I
O F PA N T N G I
in a n umb e r o f small p o rtraits r e mar k abl e fo r th e ir disti n cti on
a n d arist o c r atic g r ac e .

A ft e r T e rb o rch sh o u ld b e m e n ti o n e d M e tsu (1 6 3 0
a mor e c ompl e x a n d l e ss pr o f o un d pai n t e r tha n T e rb o rch b u t ,

n e v e r t h e l e ss a sk ill e d t e ch n ic i a n w h o o ccasi o n ally did w o rk

t h at w ill alm o st r a n k wit h T e rb o rch s b e st ach i e v e m e n ts ’

.

A n o t h e r pai n t e r o f mark e d ab il i ty ab o u t wh o s e car e e r littl e

is k n own w a s M i ch i e l S w e e r ts (fl O n e pictur e by him
.

i n th e M u n ich G all e ry is fin e e n o u g h t o mak e him fam o u s S O ,

b ea u tif u lly is it pain t e d It sugg e sts T e rb o rch s i n fl u e n c e

.
’
.

S t e e n (1 6 2 6 P 1 6 7 9 ) was alm o st t h e o pp o sit e o f T e rb o rc h

—
,

a m a n o f sarcast i c flin g s a n d c o ars e hum o r w h o satiri ze d his

o w n tim e with littl e r e s e rv e H e pr o bably d e v e l op e d u n d e r
.

t h e i n fl u e n c e o f Hals a n d Va n O st a d e fav o ri n g t h e latt e r i n

,

h is i n t e ri o r s famil y sc e n e s an d dr u n k e n d e ba u ch e s H e was
, ,
.

a m a st e r of physi o g n o my a n d d epict e d it wit h rar e if rath e r

,

u n pl e asan t truth If h e had littl e r e fi n e m e n t in his th em e s h e

.

c e rtai n ly han dl e d t h e m as a pai n t e r with d e licacy A t h is .

b e st h is man y figur ed g r oups w e r e e xc e e di n gly w e ll comp o s e d ,

h is c ol o r was o f g oo d quality (with a fo n dn e ss fo r y e ll ows) ,

a n d h is br u sh was as l i mpid a n d grac e f u l as th o u g h pai n ti n g

a n g e ls i n st e ad o f D utc h b oo rs H e w a s r e ally o n e o f th e
.

fin e brushm e n o f H o lla n d a m an gr e atly a d mir e d by S i r

,

J o sh u a R e y n o lds a n d ma n y an artist si n c e ; but n o t a m an

of h ig h i n t e ll e ctual pitc h as compar e d wit h T e rb o r ch fo r ,

i n sta n c e
.

Pi e t e r d e H oo c h (1 6 30 was a pai n t e r o f p ure ly pic

to m n i n g a n d e n di n g a pictur e i n a sch e m e

o f c ol o r
, at mo sph e r e cl ev e r c omp o sitio n a n d abov e all th e
, ,

play o f light a n d shad e H e was on e o f th e e arly mast e rs of

- -
.

f ul l su n light pai n ti n g it falli n g acr o ss a c o u r t yard or st r e am

,
-

i n g t h r o u g h a wi n dow with ma r v e llo u s tr u th a n d p oe try .

His subj e cts w e r e c omm on plac e e n o ug h A n i n t e rio r wit h a .

figu r e or tw o in th e middl e dista n c e a n d a passag e way l e ad ,

-
2 66 I
H S TO R Y I
O F PA N T N G I
J an V er m e e r of ft (1 63 2
D el o n e o f t h e m o st c h armi n g

o f al l t h e gen r e pai n t e rs was alli e d t o D e H o och i n h is pict o ria l

,

p o i n t o f vi e w a n d i n t e rio r subj e cts U n fo rtu n at e ly t h e r e is

.

l ittl e l e ft t o us o f t h is mast e r b u t th e fe w e xta n t e xamp l e s

,

s e r v e to S h ow him a pai n t e r of e xt r ao r di n ary picto r ial qual iti e s .

H e was a r e markabl e m a n for h is ha n dl i n g of blu e s r e ds a n d , ,

y e ll ows ; a n d in th e t o n al r e latio n s of a pictur e h e was a mast e r

s e co n d t o n o o n e Fabritius is s u pp o s e d to h av e i n flu e n c e d
.

h im but his w o rk is q u it e u n lik e t h at of any mast e r w h o p r e

,

c e d e d him His simplicity o f th e m e his fin e lig h t a n d atmos

.
,

p h e r e h,
is b e autif ul c o l o r plac e h im apart as a r ar e m a n i n D utc h

a r t Th e Vi e w of D e lft at t h e Hag u e is a w on d e r n o t o n ly
.

f or th e pai n t e r s tim e but f or a n y tim e I n figu r e s wit h

’
.

st udio lig h t an d i n plei n a i r l a n dscap e h e se t a st r iki n g

e xampl e i n D u tch art .

TH E L A N D S CAPE PA I N TE R S " T h e pai n t e rs of th e N e t h e r

l a n ds w e r e pr obab l y th e first in th e N o rt h to pai n t l a n dscap e

fo r its ow n sak e a n d as a pict u r e motiv e in its e lf Befor e
,
.

t h e m it h ad b e e n us e d as a backg r o u n d for th e fig u r e a n d was ,

so us e d by ma n y o f th e D u tc h m e n th e ms e l v e s b u t t h e R uis ,

da e ls a n d H ob b e m a s s ub o rdi n at e d or e limi n at e d fig ur e s a n d
thr e w all t h e ir str e n g th i n to tr e e s ski e s l igh ts an d atmosp h e r e s
, , , .

It h as b een said that t h e s e la n dscap e pai n t e rs w e r e als o th e -

fi r st o n e s t o pai n t lan dscap e r e alistically but that is tr u e ,

o n ly i n part .T h e y st u di e d n at u ral forms as did i n d e e d , , ,

B e lli n i o r S alvato r R o sa or C laud e L o r r ai n ; th e y l e a r n e d

som e t h i n g o f p e r sp e ctiv e ai r tr e e a n atomy an d th e app e ar
, , ,

a n c e of wat e r ; b u t n o D utc h pai n t e r o f la n dscap e i n th e s e v e n

t e e n t h c e n tu ry g r asp e d t h e full c o l o r of H o lla n d o r pai n t e d
its ma n y va r i e d l igh ts T h ey i n d u lg e d i n a m e agr e c onv e n
.

t io n a l pal e tt e o f g r ays g r e e n s a n d br o w n s n o t t r u e o f H o lla n d

, , ,

o r a n y o th e r l a n d ; a n d i n light wit h t h e e xc e pti o n o f C uyp

, ,

th e y s e em e d t o sh u n th e su n It was a limit e d a n d a rath e r

.

co n v e n ti o n al p o i n t o f vi e w that t h ey h e ld a n d t h e pictu r e s
 D UTCH PA N T N G I I 267

t h ey pain t e d w e re m o re d e co rativ e an d picto r ia l t h an t r ut hful

to th e e xistin g facts
H o llan d of .

Van G oy e n (1 5 9 6 1 6 5 6 ) was o n e o f th e e a r li e st o f th e s e v e n
—

t e e n th c e n tu r y la n dscapists
- I n subj e ct h e was fo n d o f th e
.

D utch bays ha r b o r s r iv e r s a n d ca n a l s with S hippi n g wi n d

, , , ,

mill s a n d h o use s His S k y li n e was g en e r al l y giv en l ow h is

,
.
,

FI G . 1 23 .
— VE RMIE E R O F D LF
E T . P O RTRA I T . HA GU
E M U UM
SE .

wat e r sil v e r y an d h is S k y misty a n d l umi n o us wit h pa l e l igh t

,
.

I n c ol o r h e was subdu e d a n d i n p e rsp e ctiv e q u it e cu n n i n g

,

at t im e s S al om on va n R u i s d a e l (1 6 00 ? 1 6 7o ) was h is fol
.
—

l ow e r if n o t h is p u p il H e had th e sam e sob r i e ty o f c o l o r as

,
.

h is mast e r a n d was a ma n n e r e d a n d p ro saic pai n t e r in d e tail s

, ,

suc h as l e av e s a n d tr e e bra n ch e s I n c o mp o siti o n h e was

-
.

fairl y g oo d but his art h ad o n ly a sligh t basis upo n r e ality

, ,
268 H S TO RI Y O F PA N T N G I I
t h ough it l oo ks t o b e r e alistic at first sight H e h ad a f o rmul a .

fo r d oi n g la n dscap e which h e vari e d o n ly i n a slight way a n d ,

this c on v e n t io n ality r a n thr o ugh all his work M olyn (1 5 9 5 .

1 6 6 1 ) w a s a pai n t e r w h o s h o w e d limit e d truth t o n at u r e i n

flat a n d h illy la n dscap e s t r a n spa r e n t ski e s a n d warm col o ri n g

, , .

His e xta n t w o rks a r e fe w i n n umb e r W yn an ts (1 6 1 5 ? .

w as m o r e o f a r e alist i n n at u ral app e ara n c e tha n e it h e r M o ly n

o r R u i sda e l a m a n w h o e vid e n tly st u di e d dir e ct l y f r om n atur e
,

i n d e tail s o f v e g e tati o n pla n ts tr e e s r o ads g r ass e s a n d t h e

, , , , ,

l ik e M ost o f th e figur e s a n d a n imals in h is la n dscap e s w e r e

.

pai n t e d by ot h e r h a n ds H e h ims e lf was a pur e la n dscap e

.

pai n t e r e xc e lli n g i n lig h t an d a e rial p e r sp e ctiv e b u t n o t

, ,

remarkabl e i n co lo r Van d e r N e e r (1 6 03 1 6 7 7) pai n t e d

.
—

riv e r sc e n e s a n d la n dscap e s with wat e r wh e r ei n h e l ik e d

to cast r e fl e cti o n s O f cl o uds m oo n l ig h t a n d fireligh t a n d , , ,

E v e r d i n g e n (1 6 2 1 1 6 75 ) pai n t e d m o u n tai n l a n dscap e s sup

— "

p o s e d to r e p r e s e n t S w e d e n o r N o r way but d on e aft e r th e ,

D utc h f o rmula .

T h e b e st la n dscapist f o llowi n g th e first m e n of th e c e n tury

w a s J a c ob va n R u i s d a e l (1 6 2 8 P L O8 2 ) t h e n e p h e w o f S al o m o n
—
,

v a n R uisda e l H e is put dow n wit h p e rhaps u nn e c e ssary

.
,

e mphasis as th e g r e at e st lan dscap e pai n t e r of th e D utc h

,
-

s c h ool H e was u n do u bt e dl y t h e e qual of a n y o f h is tim e

.
,

th o u g h n o t so n e a r t o n atur e p e rh aps as H obb e ma H e w a s

, ,
.

a m an o f imagi n ati on w h o at fi r st pictu r e d th e D utc h cou n t r y

,

ab o u t Haarl e m a n d aft e r ward t oo k up wit h t h e roma n tic

,

la n dscap e o f E v e r d in g e n T his la n dscap e b e a r s a da r k r e s em

.

bla n c e to th e N o rw egia n c o u n try ab o u n di n g as it do e s i n , , ,

m o u n tai n s h e avy dark woods a n d rushi n g t o r r e n ts T h e r e

, ,
.

is c o n sid e rabl e p oe try i n its c ompositi o n its gl o omy ski e s , ,

a n d dark e n e d lights It is m o ur n ful sugg e stiv e wild usually

.
, , ,

u np e opl e d T h e r e w a s m u ch o f th e m e th o dical i n its putti n g

.

t o g e th e r a n d i n c o l o r it w a s c o ld a n d l imit e d t o a fe w t o n e s
, ,
.

M a n y o f R u isd a el s w o rks h av e dark e n e d thr o u gh tim e L ittl e

’
.
2 70 H S TO R I Y O F PA N T N G I I
th e D u tch catt l e pai n t e rs r va n d e V e l d e (1 6 3 6 ?
. A d ien
1 6 7 2 ) w a s sh o rt liv e d-
lik e Po tt e r but ma n ag e d to do a p ro
, ,

dig io u s am o u n t o f w o rk sh owi n g cattl e a n d fig u r e s i n la n d

,

scap e with m u ch t e ch n ical ab i lity H e w a s partic u larly cl e v e r .

i n c omp o siti o n a n d t h e s u btl e g radati o n o f n e u tral ti n ts A .

littl e o f th e Italia n i n flu e n c e app e ar e d in his w o rk an d wit h th e ,

m e n w h o cam e with him a n d aft e r h im t h e Italia n imitati o n

b e cam e v e ry pro n o un c e d A e l b e rt C uyp (1 6 2 0 1 6 9 1 ) w a s a
.
—

FI G . 1 24 . JACO B VA N R U D L L D P
IS AE . AN S CA E .

ma y sid e d pai n t e r ad opti n g at va r i o us t im e s di ff e r e n t sty l e s

n -
, ,

but w a s e n o u g h o f a g e n i u s to b e h ims e lf always H e is b e st .

k n o w n t o us p e rhaps by his y e llow sun light e ff e cts al o n g

, ,

riv e rs wit h cattl e i n th e fo r egr o u n d t h o ug h h e pai n t e d still

, ,

lif e a n d e v e n p o rtraits a n d mari n e s I n c o mp o s i n g a group

, .

h e w a s skilf u l r e c o rdi n g n at u ral e ff e cts with p ow e r ; i n light

,

a n d atm o sph e r e h e w a s o n e o f t h e b e st o f h is tim e an d in ,

t e xtur e a n d c o l o r r e fi n e d a n d fr e q u e n tly b r ill i a n t B o th

,
.

(1 6 1 0 B e r c h e m (1 6 2 0 D u J a r di n (1 6 2 2
 D UT C H I
PA N T N G I 2 7 1

f oll ow e d th e Italian tra di ti on of C l aud e L o rr a in pr o duc ing ,

s emi —classic l a n dscap e s n e v e r v e r y co n vin c in g in t h e i r o rig

,

i n ali ty Van d e r H e y d e n (1 6 3 7 1 7 1 2 ) s h oul d b e m e n ti on e d

.
—

as an e xc e ll en t if m in ut e pai n t e r of arc h it e ctu r e wit h r ema r k

, ,

abl e ski e s an d atm o sph e r ic eff e cts .

M ARI NE A N D S TILL LIFE PA IN TE R S " T h e r e w e r e two

-

p r e em in en t mari n e pain t e r s in t h is s e v en t e en t h c en tury ,

W ill e m va n d e V e l d e th e Youn g e r (1 6 3 3 1 7 0 7) an d B a ck h u i s e n —

( 3
1 6 1 T h e s ea was n o t a n u n usua l subj e ct wit h th e
D u tch la n dscapists S im on d e Vli e g e r (1 6 0 1
. W il l e m
van d e V e l d e th e E l d e r (1 6 I I P Va n d e C app e ll e (1 6 2 4 ?
all e mpl o y e d it ; b u t it was Va n d e Ve l d e t h e Y o u n g e r

w h o r e ally st oo d at t h e h e ad O f t h e ma r i n e pain t e r s H e k n ew .

h is subj e ct th o ro ughly h avi n g b e en w e ll gr oun d e d in it by hi

,

fat h e r an d D e Vli eg e r so t h at th e pain tin g o f th e D u tc h fl e e ts

,

a n d ha r b o rs w as a part o f hi s n atu r e H e pr e f e rr e d th e q ui e t
.

h av en to th e op e n se a S mooth wat e r calm ski e s s il v e ry

.
, ,

l ig h t an d b o ats lyin g listl e ssly at an ch o r with d r oopin g sails

, ,

mad e up his us u al subj e ct Th e c o lo r was alm o st always i n .

a k ey o f silv e r a n d gray v e ry charmi n g in its harm on y a n d

,

s e r e n ity b u t a littl e t hi n Bo th h e an d his fath e r w en t to

,
.

E n gla n d a n d e n t e r e d t h e s e rvic e o f th e E n glis h ki n g a n d ,

th e r e aft e r did E n g lish fl e e ts rath e r tha n D utch o n e s Back .

h uise n was q u it e th e r e v e rs e of Va n d e Ve l d e in p r e f e r rin g th e

t emp e st to th e ca l m of th e se a H e a l s o u s e d m o r e brill ia n t
.

a n d va r i e d c o l o rs but h e was n o t so h appy i n t o n e as Va n d e

,

Ve ld e . T h e r e w as oft e n dry n e ss i n h is ha n dl in g a n d s om e ,

thin g too m u c h o f th e th e atrical in h is wr e cks o n r o cky sh o r e s .

Va n d e C app e ll e was u n e v e n in hi s w o r k O ccasi o n a ll y h e .

r e ach e d a h igh pitch of e xc e ll e n c e .

T h e still lif e pai n t e r s o f Holla n d w e r e a l l of th e m r at h e r

-

p e tty in th e i r e mp h asis of d e tails suc h as figur e s o n tabl e

c o v e rs wat e r dr ops o n fl ow e rs a n d fu r on r abbits It was
,
-
,
.

l abo r e d work wit h litt l e of th e art spirit about it e xc ept as ,

 2 72 I
H S TO R Y O F PA N T N G I I
it s u gg e st e d skill o f ha n dli ng o r g oo d gr o upi n g o f c o l o r mass e s .

A n u mb e r o f th e s e pai n t e rs gai n e d c e l e brity i n th e ir day by

th e ir m icr o sc opic lab o r o v e r fr u its fl ow e rs a n d th e lik e but
, , ,

th e y h av e n o gr e at ra n k at th e pr e s e n t tim e Jan d e H e e m .

(1 6 0 6 w a s p e rhaps th e b e st pai n t e r o f fl o w e rs am o n g
th e m Van H u y s u m (1 6 8 2 1 74 9 ) succ e e d e d with th e sam e
.
—

s u bj e ct b e y o n d his d e se rts H on d e c o e te r (1 6 3 6 1 6 9 5 ) w a s a
.
—

u n iq u e pa i n t e r o f birds a n d p o u ltry ; W e e n i x (1 6 4 0 1 7 1 9 ) a n d —

Va n A e l s t (1 6 2 6 P 1 6 8 3 P) o f d e ad gam e ; K al f (1 6 3 o ?
—
,

o f p o ts pa n s dish e s a n d v e g e tabl e s
, , ,
.

E I G H TE E N TH C E N TUR Y " T his w a s a p e ri o d o f d e cad e n c e

duri ng wh i ch th e r e w as n o o rig i n ality w o rth sp e aki n g ab o u t

am o n g th e D u tch pai n t e rs R e alism i n mi n u t e fe at u r e s was
.

carr ie d t o t h e e xtr e m e a n d imitati o n o f th e e arly m e n t oo k

,

t h e plac e o f i n v e n ti o n E v e ryt h i n g w a s p r e t t i fie d a n d e lab

.

o rat e d u n til th e r e was a p o r c e la i n sm oo th n e ss a n d a ph o t o

g raph i c e xact n e ss i n c o n sist e n t wit h f o rc e f u l art A d r i a e n .

va n d e r W e rff (1 6 5 9 1 7 2 2 ) a n d Phi li p va n D y c k (1 6 8 0 1 7 5 3 )
— —

with th e ir id e al i n a n iti e s a r e typical o f th e c e n t u ry s art

“ ’
.

T h e r e w a s n o thi n g to c o mm e n d it T h e l o w e st p o i n t o f
.

a ff e ctati o n had b e e n r e ach e d .

N I N E TE E N TH C E N TURY " Th e D utch pai n t e rs u n lik e th e ,

Be lgia n s hav e alm o st always b e e n tr u e t o th e ir o w n tradi

,

ti o n s a n d th e i r ow n c o u n try E v e n i n d e cad e n c e th e m o st o f
.

th e m fe ebly f oll o w e d th e ir o w n pai n t e rs r ath e r t h a n thos e O f

Italy a n d Fra n c e a n d in th e e arly n i n e t e e n t h c e n t u ry t h e y w e r e
,

n o t a ff e ct e d by t h e F r e n c h classicism o f D avid L at e r on .

th e r e cam e i n t o v og u e a n art that had affi n ity wit h t h at of

M ill e t a nd C o u rb e t i n F ra n c e It w a s th e D u tch v e r si on o f
.

m o d e r n s e n tim e n t ab o u t t h e lab o ri n g class e s fou n d e d on th e ,

m o d e r n life o f H o lla n d y e t i n r e ality a c o n ti n u ati o n o f th e sty l e

,

o f gen r e practis e d by t h e e arly D u tchm e n I s r a e l s (1 8 2 4 .

1 9 1 1 ) w a s a r e vival o r a su r vival O f R e mb r a n dt e squ e m e thods

with a s e n tim e n t a n d f e e li n g aki n to t h e Fr e n ch M il l e t H e .

2 74 I
H S TO R Y O F PA N T N G I I
t o w n s a n d la n dscap e s H e is br o ad in h a n dl i n g r at h e r b l e ak
,
.
,

i n c o lo r i n g a n d e xc e ls i n fin e l umi n o us ski e s a n d v oyagi n g

,

cl o uds M at th e w M a ri s (1 839
. Parisia n trai n e d lik e h is
b r ot h e r liv e s in L on do n w h e r e littl e is s e e n o f his w o rk H e
, ,
.

pai n ts for h im s e lf a n d h is fri e n ds a n d is r at h e r m e la n c h oly ,

a n d mystical i n his a r t H e is a r e co r d e r o f visi o n s a n d d r e ams

.

r ath e r tha n th e s u bsta n tia l thi n gs o f th e e a r th b u t always wit h ,

r ich n e ss o f c ol o r a n d a fin e d e co r ativ e f ee li n g W i ll e m M a ri s .

( 39
1 8 s o m e t i m e s call e d t h e S i lv e ry M aris was a “
,
”

portray e r o f cattl e an d la n ds c ap e in wa r m s u n light a n d h a ze

wit h a charm of color a n d t o n e o ft e n s u gg e stiv e o f C o r ot
'

J on g k i n d (1 8 1 9 1 8 9 1 ) sto o d by h im s e lf M e s d a g (1 8 3 1
-
is ,

a fin e pai n t e r o f mari n e s a n d se a sh o r e s a n d M auv e (1 8 3 8 -

,

1 888 ) was a cattl e a n d sh e e p pai n t e r wit h n ic e s e n tim e n t a n d ,

t on ality wh o s e r e n o wn is j u st n ow s om e what d isp rO p or tion ate

,

to his a r tistic ability T h e r e a r e a n umb e r o f livi n g pain t e r s

.

in Holla n d c o n n e ct e d wit h pr e s e n t day mov e m e n ts wh o s e -

n am e s m e r e l y ca n b e giv e n at th e pr e s e n t tim e T h e y ar e .

K e v e r P ogg e n b e e k B a s t e r t B a u r B r e i tn e r W i ts e n H ave r
, , , , , ,

m an W e i s s e n b r u c h
,
.

XTA N T W O RK S " G r ally sp ak i g t h b s t xamp l s f

E ene e n e e e e o

th D ut h s h l s
e c t b s c i th
oo l a l mus ums f H ll a d
are o e een n e oc e o o n ,

esp i a lly t h A ms t r d am d H a g u mus ums H al s i s

ec e e t an e e . s ee n o

a d va t a g a t H aa rl m E xamp l s f R m b r a d t
n e e i ma y
. e o e n are n n

E ur p a o g a ll r i s b t w i t h t h m
e n e m i x d ma y p i tur s b
e u e are e n c e e

l g i g t h i s h l d pup il s T h L i ttl D ut h m
on n o s c oo an als . e e c en are o

s i a l m s t v ry g a ll ry D ut h a rt i a ll i t p h as s i p rh aps
ee n n o e e e . c n s e s e

m r w i d l y d i ff us d t h a
o e e y th r S m f t h m d r m en
e n an o e . o e o e o e n are

w ll s h w i A m ri a ll ti s
e o n n e c n co ec on .
 C H APTE R XX
G E R M AN PAI N TI N G
/

BO O K S R E C O MM END E D " C o l vi n , A D u rer r hi s Tea ch er s , h i s

.

Ri va ls , a nd h i s S Eh ola r s; C o n way , Li ter a r y R emai n s of A l

br ech t D u r er ; C ust , D u r er ; D avi e s , H olbei n ; E p h r u ssi , D u r er
' ' '

et ses dess i n s; E y e , L eben u nd W i r k en A lbr ech t D ur er s; F isc h e r ,

'

D i e a ltd eu tsch e M a ler ei i n S alzbu r g; FOr ste r , Gesch i ch te d er

du tsch en Ku n st; l P eter von C or n eli u s; G au th i e z , H olbei n ;
G i r o di e , M a r ti n S ch on gau er ; Haack , H a n s S ch uck li n ; H e at on ,
'

A lbr ech t D u r er ; Jan i tsch e k , Gesch i ch te der deu tsch en M aler ei ;

'

Ke a n e , E a r ly Teu ton i c , I tali a n , a nd F r en ch P a i n ter s; Kii gle r ,

H andbook to Ger m an a nd N eth er la nd S ch ools , tr a n s by C r ovve; .

M e rl o , D i e M ei ster der a ltk oln i sch er M a ler sch u le; M oo r e ,

'

A lber t D i tr er ; Pe c h t , D eu tsch e K i tn stler des N eu nzeh n ten

J a h r h u nd er ts; R e au , L es P r i mi tifs A llema nds; R e b e r , Ges
ch i ch te d er n eu er en deu tsch en K u n st; R i e g e l , D eu tsch e K u n st

studi en ; R o s e n b e rg , D i e B er li n er M a ler sch u le; S eba ld u nd

B a r th el B eh a m; R u m ohr , H a n s H olbei n der J ti n ger e; S an
dr a r t , Teu tsch e A k ademi e der Ed len B a u B i ld u nd M a ler ey
Kitn ste , S ch i eb le r u n d A l d e nh o v e n , Gesch i ch te der k oln er
'

M a ler sch u le; S chrn a r sow , D i e ober r h ei n i sch e M a ler ei ; S ch u c

h a r dt , L u cas Cr a n ach s L eben; S prin g e r , A lbr ech t D urer ;
’ ’

S tadl e r , H a n s M u ltsch er; T h au sig , A lber t D u r er , H i s L ife

'

a nd W or k s; T h o d e , Di e M a ler sch u le von N itr n berg; W aag e n ,

Ku n stw er k e u nd Ku n stler i n D eu tsch land ; E au S m W e e r th ,

’
.

W a nd ma ler ei en des M i ttela lter s i n den Rh ei n la nd en ; W e ss e ly ,

-

A dolph M enzel; W o lff , M i ch ael P ach er ; W olfllin , D i e K u n st

A D itrer s; W o l tma n n , Gesch i ch te der D eu tsch en K u nst i m
.

E lsass; H olbei n a nd hi s Ti me; W u r tzb a ch , M a r ti n S ch onga u er .

EARL Y G ER M A N PA N T N G I I " Th e T e uto n ic l a n ds l ik e ,

al

m o st all of th e n o r th e r n cou n t r i e s of E ur o p e p r o bab l y

,
re

c e iv e d t h e i r fi r st art impuls e fr o m Italy T h e c e n tr e of th e

.

fait h was at R o m e an d f r om t h e r e th e i n flu en c e i n art sp r e ad

,
2 76 I
H S TO R Y I
O F P A NT N G I
w e st a n d n o rth a n d i n e ach la n d it w a s m o difi e d by l o ca l
,

p e c u liarit i e s o f typ e a n d t e mp e ram e n t I n G e rma n y e v e n .

,

i n t h e e arly days th o u gh C hr i stia n ity w a s t h e th e m e O f e arly

,

ill u mi n ati o n s mi n iat u r e s a n d th e lik e a n d t h o u gh th e r e

, , ,

w a s a traditi o n a l f o rm r e achi n g back t o Italy y e t u n d e r i t ,

was th e T e u t o n ic typ e th e mat e rial awkward rath e r c Oa r se , ,

G e rma n ic p o i n t o f v i e w T h e w i sh t o r e ali ze n ativ e s u rr o u n d

.

i n gs w a s appar e n t fr o m th e b eg i n n i n g .

It is pr obably that th e e arl i e st pa i n t i n g i n G e rma n y t o o k

t h e f o rm o f i ll u mi n ati o n s A t what dat e it first app e ar e d is
.

u n k n o w n I n wall pa i n t in g a p o o r q u al i ty o f w o rk w a s e xe
.
-

cu t e d i n t h e ch u rch e s as e arly as t h e n i n th c e n tury a n d pr ob ,

ably e arli e r Th e o ld e st n o w e xta n t a r e th o s e at O b e r z e ll o n

.

t h e L ak e O f C o n sta n c e dati n g back t o t h e last part o f t h e t e n th

,

c e n t u ry Be tt e r e xampl e s a r e s e e n i n t h e m on ast e ry o f
.

B ra u w e il e r n e a r C o l o g n e a n d i n S t M icha e l at Hild e sh e im
, ,
.
,

o f t h e t w e lft h c e n t u ry a n d st i ll b e tt e r i n t h e ch o i r o f t h e B r u n s
,

wick c ath e dral ascr ib e d to th e e arly th i rt e e n th c e n tury

,
.

A ll o f th e s e w o rks hav e a n archaic app e ara n c e but th e y

a re m o r e mat u r e i n comp o sit i o n a n d drawi n g tha n t h e p ro

d u c t i o n s o f Italy at that tim e T h e y n at u rally lack e d i n

.
, ,

p e rsp e c tiv e a n d m o d e ll i n g a n d w e r e plac e d u p o n th e wal l i n

flat patt e r n It is l i k e ly that ma n y o f th e G e rma n ch u rch e s
.

at this tim e w e r e d e c o rat e d b u t m o st o f th e pai n t in gs hav e

,

b ee n d e str oy e d T h e u s u al m e th o d w a s to c o v e r t h e walls a n d
.

w oo d e n c e ili ng s with bl u e gr o u n ds a n d up on th e s e t o plac e ,

fig u r e s s u rr o u n d e d by archit e ct u ral o r n am e n ts S tai n e d .

g lass was als o u s e d e xt e n siv e ly a n d e v e n t u ally did away wit h

wall pai n ti n g Pa n e l pa i n t i n g se e ms t o hav e c o m e i n t o e xist
-
.

e n c e b e f o r e t h e thirt e e n t h c e n t u ry (wh e th e r d e v e l op e d fr o m

mi n iat u r e o r wall pai n ti ng is u n k n o w n ) a n d was u s e d fo r a l tar

-
,

d e co rati on s T h e pa n e ls w e r e d o n e i n t e mp e ra wit h figu re s

.

i n l ig ht c o l o rs u p o n g o ld gr o u n ds T h e spirit u ality o f t h e a g e
.

with a m in g li n g o f n o rth e r n s e n tim e n t app e ar e d i n th e fig u r e .

2 7 8 H S TO R I Y I
O F PA N T N G I
an d a c on ti n uati o n o f art traditi o n s i n W e stphalia wit h C o n r a d
d e S o e s t a n d t h e M a s t e r o f L i e s b o rn B u t th e b e st pa n e l .

pai n ti ng was d o n e at C o l og n e wh e r e w e m e e t with th e n am e of

,

M e i st e r W ilh e lm a mast e r m u c h prais e d by t h e chr o n icl e rs

, ,

a n d wh e r e a sc h oo l was e stablish e d u s u ally k n o w n as t h e

S C H O O L O F C O L O G N E " T his sc h oo l p e rhaps g o t its se n

t im e n t a l i n cli n ati o n sh o w n i n slight f o rms a n d t e n d e r e xp r e s

,

si o n fr om F ra n c e but pr o bably d e riv e d s om e o f its t e c h

, ,

n iqu e fr o m Fl e mis h mi n iat u r e pai n ti n g S t e p h e n L och n e r or .

,

M e i s t e r S t e p h e n (fl 1 4 l e a n e d t oward t h e Fl e mish m e t h o ds
.
,

but th e r e is a l s o a n i n divid u ality ab o u t his work sh owi n g

t h e gr o wt h o f G e rma n i n d e p e n d e n c e i n pai n ti n g Th e fig u r e s .

o f his D o mbild h av e l ittl e ma n li n e ss o r p ow e r b u t c o n sid e rabl e ,

grac e path o s a n d r e ligi o u s f e e li n g T h e y a re n o t abstract

, ,
.

typ e s b u t th e spirituali ze d p e opl e o f th e c o u n try in n ativ e

c o st u m e s with muc h g o ld j ew e lry a n d arm o r G o ld was
, , ,
.

u s e d i n st e ad o f a la n dscap e backgro u n d a n d th e f o r e gr o un d ,

was spatt e r e d with fl ow e rs a n d grass e s i n ma n y o f th e pa n e ls

of th e tim e Th e o u tli n e s w e r e rath e r hard a n d n on e o f th e
.
,

a erial p e rsp e ctiv e o f th e Fl e mi n gs w a s giv e n A ft e r a tim e .

t h e n ativ e s e n tim e n t w a s still f u rth e r e n cr o ach e d up on by

r e alism i n th e figur e s a n d much spl e n do r o f o r n am e n tati on i n
r ob e s a n d patt e r n s T h e n am e s o f th e pai n t e rs a re u n c e rtai n
.

a n d th e y a r e id e n tifi e d o n ly by th e i r w o rks T h e chi ef o n e s .

a r e t h e M a st e r of th e L i f e of th e Vi r g i n th e M a s t e r of th e ,

Ki n s f o l k of th e Vi r g i n t h e M ast e r of th e S t B ar th o l om e w
,
.

A lt a r th e M a st e r of th e H e i st e r b a c h Altar t h e M a st e r of S t
, , .

S e v e ri n .T h e i n fl u e n c e o f B o u ts is appar e n t i n s om e o f
th em n o tably th e M ast e r o f t h e L if e o f th e Vi rgi n a n d i n
, , ,

o th e rs th e r e a r e r e s e mbla n c e s t o t h e Va n E ycks o r Va n d e r

W e yd e n ; b u t wit h this th e r e is always n ativ e o r ig i n ality ,

m u ch skill a n d a fin e c o l o r s en s e T h e C o l og n e sch oo l had a

,
.

fi n al r e pr e s e n tativ e i n B a rth e l Bru yn (1 4 9 3 1 5 a n e ff e ctiv e

—

p o rtrait pai n t e r .
 G E RM A N PA NT N G I I 2 79

I
BO H E M A N S C H O O L It was
o r t h a l on e t h at
" n ot in th e n

G e r ma n pain ti n g was practis e d T h e Boh em Ia n sc h o ol .

,

l o cat e d n e ar Prag u e fl o urish e d for a sh o rt tim e i n th e f o u r

,

t e e n th c e n tury u n d e r C h arl e s I V wit h Th e o d or i ch of Pr ag u e

, , ,

FI G 1 2 7
“
HO LB E IN BU G
R O MA S TE R ME YE R M A D O NN A
D D
. . . .

AR M S TA T .

W u rm s e r , an d chi e f mast e rs T h e i r a r t was

K un z, as th e .

qu it e th e r e v e rs e of th e C ol og n e pai n t e r s It was h e avy .

,

clumsy b on y awkward If m o r e o rigi n al it w a s l e ss grac e f ul

, ,
.
,

n o t so path e tic n ot so r e ligi o u s

, S e n tim e n t was sl u rr e d .

t hr o u g h a h a r s h att empt at r e alism a n d th e r e ligi o u s subj e ct ,

2 80 I
H S TO R Y O F PA N T N G I I
met with s om e thi ng o f a c h e c k i n t h e r o ma n tic m e diaeval
chivalric th em e pai n t e d q u it e as o ft e n o n th e castl e wall as
,

t h e script u ral th e m e o n t h e ch u rch wall .

N URE M B ER G S CH O O L " Half w a y b e tw e e n t h e s e n tim e n t

-

o f C o l og n e an d t h e r e alism o f Prag u e stood t h e e arly

schoo l o f N u r e mb e rg with n o k n ow n pai n t e r at its h e ad
, .

Its chi e f w o rks th e Im h o f altar pi e c e a n d th e T u ch er r e

,
-

tabl e S h ow how e v e r that th e N u r e mb e rg mast e r s o f th e

, , ,

e arly a n d mid dl e fift e e n th c e n tury w e r e sway e d by e ast e r n

a n d w e st e r n i n fl u e n c e s a n d y e t h e ld fast t o a sh o rt st o ut

fi g u r e wit h muc h stu r dy st r en gt h a n d n o t a littl e d e c o rativ e

spl e n d o r .

S W ABIA N S C H O O L " A t U l m th e r e fl o u rish e d an e a r ly

pai n t e r M u lts ch e r (fl c
,
. . a n d at W e il Lu c a s M o s e r ,

(fl c
. . b o th o f th e m p ro duci n g a r e ma r kabl e art in its
f o rc e o f typ e a n d its r e alistic d e tail o f nat u ral sc en e s ; but
n e ith e r o f th e m w a s so n o tabl e as W i tz (1 4 0 0 ? P) a S wiss ,

w o rki n g at C o n stan c e a n d Pa ch e r (fl
,
a Tyr ol e s e mast e r
.

o f rar e d e c o rativ e ability a n d pr o n o u n c e d p o w e r W it z had .

a w o n d e rf u l s e n s e o f c ol o r a n d Pach e r was a draftsman o f

si ng ula r str e n gth fo r his e arly tim e T h e e xampl e s o f Pac h e r
.

at th e M u n ich gall e ry wil l r e pay l o n g st u dy R e i ch li ch

"
.

(1 4 6 o ? 1 5 2 0) w as his f oll o w e r
-
.

FIF TE E N TH A N D S I XTE E N TH C E N TUR IE S " G e rma n art ,

if b eg u n i n t h e f o u rt e e n th c e n t u ry h a r dl y sh o w e d d epth ,

or br e adt h u n til th e fift e e n th c e n t u ry a n d n o r e al i n divid ,

u al str e n gth u n t il th e sixt e e n th c en t ury It lagg e d b eh i n d .

t h e o th e r c o u n tri e s o f E ur op e a n d pr o d u c e d th e a r chaic altar

p ie c e cr owd e d i n c omp o s i ti o n cramp e d i n spac e if r ich i n g ol d

, ,

w o rk a n d e xc e ll e n t i n r e alistic d e tail T h e n wh en p r i n ti n g .

was i n v e n t e d th e pa i n t e r e ng rav e r cam e i n t o e xist e n c e H e

-
.

was a m a n w h o pai n t e d pa n e ls b u t f o u n d his larg e st audi e n c e

,

t h r o u gh t h e c irc u lat io n o f e n g rav i n g s Th e tw o ki nds O f art .

b e i ng pr o d u c e d b y th e o n e m a n le d to muc h d e ta il e d li n e w o rk
282 I
H S TO R Y O F PA NT N G I I
he was muc h i n t e r e st e d a n d als o O f s o m e f o llowi n g o f Bouts
, .

T h e r e was h o w e v e r i n his w o rk a n adva n c e i n c h a r ac t e r i za

, ,

ti o n e xpr e ssio n a n d di g n i ty a n d it w a s his g oo d fo rtu n e to

, , ,

b e t h e mast e r o f o n e O f t h e m o st th o r o u ghly o rigi n al pai n t e rs

O f all t h e G e rma n sch o o ls A l b r e c ht Dii r e r (1 4 7 2 1 5 2 8 )
— -

W ith D ii r e r a n d H o lb e i n W h e d its ap og ee
i n t h e first h alf O f th e sixt e e n th c e n tury y e t t h e i r w o rk was ,

n o t di ff e r e n t i n spirit fr o m t h at o f th e i r pr e d e c e ss o rs Pai n t .

i ng s imply d e v e l op e d a n d b e cam e f o rc e f u l a n d e xpr e ssiv e

t e ch n ically with o ut aba n d on i n g its e arly charact e r T h e r e .

is i n D ti re r a n aiv e awkward n e ss o f fig u r e s om e a n gularity ,

o f li n e strai n o f p o s e a n d i n c o mp o sit i o n oft e n tim e s huddli n g

, ,

a n d o v e rl o a di n g o f t h e sc e n e with d e tails T h e r e is n o t that .

larg e n e ss which s e e m e d n ativ e to his Italia n co n t emp o rari e s .

H e was hamp e r e d b y a G e rma n e xact n e ss whic h f o u n d its ,

b e st expr e ssi o n i n e n gravi n g an d whi c h th o u g h u n suit e d to

, ,

pai n t i n g n e v e rth e l e ss cr e pt i n t o it W it h i n th e s e limitati o n s

,
.

D ii r e r pr o d u c e d th e typical art o f G e rma n y i n t h e E arly

R e n a i ssa n c e tim e a n art m o r e attractiv e fo r th e charm a n d

b e a u ty o f its parts t h a n fo r its u n ity o r its g e n e ral impr e ssi o n

,
.

D ii re r w a s a trav e ll e d m a n visit e d Italy a n d th e N e th e rla n ds

, ,

and ,
th o u gh h e always r e mai n e d a G e rma n in art ye t h e ,

pick e d u p s o m e Italia n m e th o ds from Be lli n i a n d M a n t eg n a

that a re fai n tly appa r e n t i n s om e o f his w o rks I n s u bj e ct .

h e w a s alm o st e xclusiv e ly r e ligi o u s pai n ti n g t h e alta r pi e c e

,
-

with i n fi n it e car e u p on w oo d e n pa n e l ca n vas o r parchm e n t , ,

.

I n d r awi n g h e w a s s o m e tim e s h a r sh a n d fa ul ty i n drap e ri e s ,

o ccasi o n ally cramp e d a n d t h e n agai n as i n th e A p o stl e pa n e ls

, , ,

at M u n ich v e ry br o ad a n d e ff e ctiv e M a n y o f h is pictur e s

, .

sh ow a h ard dry br u sh an d a f ew agai n a r e so fr e e a n d m e llow

, , , ,

that th ey l o o k as th o ugh d o n e by a n o th e r ha n d H e was .

us u ally mi n ut e i n d e tail e sp e cially in such f e atur e s as hai r

, ,

c l o th fl e sh His p o rtraits w e r e u n e v e n H e was too cl o s e

, . .

a scr u t i n iz e r o f th e part a n d n o t e n o ug h o f a n obs e r v e r o f th e

 G E RM A N PA N T N G I I 2 83

w h ol e fo r good p o r t r aitur e I n d ee d t h at is th e c r iticism to

.
,

b e mad e upo n all h is wor k H e was a n e xquisit e r e alist of

.

c e r tain f e atu r e s but n ot always of th e ensemble N e v e rt h el e ss

,
.

h e h olds h ig h r a n k i n th e G e r ma n a r t of th e R en aissa n c e n o t ,

FI G 1 29 — C RA N A CH RE S T I N FL G
I H T IN TO E GP
Y T
K F U UM B L
. . . .

AI S E R - RI ED RI CH M SE , E R IN .

onl y on accoun t of h is t e c h n ical ability but also b e caus e of ,

h is imagi n ati on si n c e r ity an d striki n g o rigi n ality

, ,
.

D i I r e r s i n flu e n c e w a s wid e sp r e ad t h r o ug h o u t G e r ma n y
’
’
-
,

e sp e cially i n e n gravi n g o f w h ic h h e was a g r e at mast e r

,
In .

pai n ti n g S ch au fi e l e in (I 4 80 ? 1 5 4o ? ) was p r obably h is ap p re n

'
-

t ic e an d in h is wo r k fo ll ow e d th e mast e r so clos el y t h at ma n y
,
2 84 I
H S TO R Y O F PA N T N G I I
of his w o rks hav e b e e n attr ib u t e d t o D ur e r His p o rtraits .

a r e e xtr e m e ly w e ll d o n e H a n s B ald u n g (1 4 7 6 P 1 5 4 5 ) als o -

.

d e v e l o p e d u n d e r t h e i n flu e n c e o f D ii re r a n d was r e markabl e
f o r h i s b e a u tif u l o utli n e drawi n g H e w a s a draftsma n o f
.

p ow e r a n d th e r e is grac e e v e n i n his odd typ e s M o r eo v e r .

h e was a pai n t e r o f imagi n ativ e f o r c e a n d had tragic q u aliti e s

that r e mi n d o n e o f G r ii n e w ald (fl c 1 5 03 T his last
. .

n am e d pai n t e r st o o d q u it e apart fr o m t h e larg e r sch oo ls ,

w o rk e d at M a i n z a n d e ls e wh e r e a n d pr o d u c e d a p ow e rf ul if
,

s o m ewhat br u tal art that at l e ast c o mma n ds r e sp e ct H e w as .

n o t lack i n g i n a s e n s e o f t h e d e c o rativ e a n d w a s a n o rig i n al

g e n i u s all thr o u gh H a n s vo n K u lm b a c h (1 4 7 6 ? 1 5 2 2 ) w a s
.
—

als o a pai n t e r o f m o r e tha n o rdi n ary ab ility brill i a n t i n c ol o r ,

i ng a f o ll ow e r o f D ur e r w h o w a s i n cl i n e d t o ward Italia n
, ,

m e th o ds a n i n cli n atio n that aft e rward d e v e l op e d all thr o ugh

,

G e rma n art Fo ll owi n g D ii r e r s f o rm u las cam e a larg e n u mb e r

’
.

of so call e d L ittl e M ast e rs (from t h e si ze o f th e ir e n grav e d

‘

-
”

plat e s) w h o w e r e m o r e e ngrav e r s tha n pai n t e rs A m on g th e

,
.

m o r e imp o rta n t o f th o s e w h o w e r e pai n t e rs as w e ll as e n g rav e rs

w e r e A lt d o rf e r (1 4 8O P a striki n g pai n t e r of la n dscap e
i n c on n e cti on with small fig u r e s ; B a r th e l B e ham (1 5 0 2
S e b al d B e ham (1 5 00 P e n c z (1 5 O O ? 1 5 5 O ) A ld e g r e ve r —
,

(1 5 0 2 an d Bi n k (1 4 9 0 ?
S W AB A N I S CH O O L
sch oo l i n th e fift e e n th c e n t u ry
" T his
i n cl u d ed a n u mb e r o f pai n t e rs w h o w e r e l o cat e d at di ff e r e n t
pla ce s lik e C o lmar a n d Ulm an d lat e r o n it i n cl u d e d t h e
, ,

H o lb ei n s at A ugsbur g w h o w e r e r e ally th e c o n summati on o f

,

t h e sch o o l O n e o f t h e e arly l e ad e rs was M ar ti n S c h o n g a u e r

.

( 45
1 0 at C o lmar H e is supp o
. s e d to h av e b e e n a p u p i l
o f R o g e r v a n d e r W e yd e n o f t h e Fl e mish sch oo l a n d is b e tt e r ,

k n ow n by h is e n g ravi ng s t h a n his pai n ti n gs H e w as th o r .

o u g hly G e rma n i n his typ e a n d tr e atm e n t th o u gh p e rhaps , , ,

i n d e bt e d t o th e Fl e m in gs fo r his c o l o r in g T h e r e w a s s om e .

a ng u larity i n his fi g u r e s a n d drap e ri e s a n d a t e n d e n cy t o g e t ,

2 86 I
H S TO R Y O F PA N T N G I I
was a n o th e r Ulm pai n t e r a j u n i o r t o Z e i tblo m w h o was p rob
, ,

a b ly i n flu e n ce d by B u rgk m a ir a n d D i ne r His comp o siti o n

'

.
,

his s e n s e o f d e c o rativ e patt e r n his e m o ti o n a l f o rc e w e r e a ll

,

v e ry u n us u al B e r n ar d S tri g e l (1 4 6 I ?
. s e e ms t o h av e
f o rm e d h ims e lf u n d e r th e i n flu en c e o f Z e i tb lom a n d pai n t e d
s om e e xc e ll e n t p o rtraits (in th e Vi e n n a G all e ry ) t h at ar e n o t
o nl y d e licat e b u t f o rc e f ul i n li n e a n d b e autiful i n col o r .

A t A u g sburg th e r e was st i l l a n o th e r sc h oo l which cam e i n t o ,

pr o mi n e n c e i n th e sixt e e n th c e n t u ry wit h Bu rgk m ai r an d th e

H o lb e i n s It was o n ly a part o f th e S wabian sch o o l a con ce n
.
,

t r a t i o n o f artistic f o rc e ab o u t A u gsburg whic h t o ward t h e , ,

cl o s e o f th e fift e e n th c e n tury had c om e i n to c omp e titi o n with

,

N u r e mb e rg an d r ath e r o utra n k e d t h e l att e r i n spl e n d o r

, .

It was at A ugsbu r g that th e Re n aissa n c e a r t i n G e r ma n y

sh ow e d i n mor e r e stf ul c o mp o siti on l e ss a n g u larity b e tt e r , ,

m o d e lli n g an d pai n ti n g a n d m o r e s e n s e o f t h e en semble o f a

,

pict u r e U l ri ch A pt (1 4 8 6 ? 1 5 3 a pai n t e r of fin e f e e li n g wit h

.
—

a t e ch n iq u e p e rhaps f o u n d e d o n Fl e mish pai n ti n g w o rk e d h e r e ,

at A ugsb u rg pr o duci n g d e c o rati ve altar pi e c e s ; b u t H an s -

B u r g k m ai r (1 4 7 3 1 5 3 1 ) w a s t h e f o u n d e r o f t h e sch oo l
-
He .

was a p u pil o f S ch o n ga u e r lat e r i n flu e n c e d by D ii r e r a n d fi n ally

, ,

sh owe d th e i n fl u e n c e o f Italian art A s a pai n t e r h e was a .

r ath e r str on g if crud e c o l orist a n d an a n g u lar but v e ry f o rc e f u l

draftsma n H e w a s a pain t e r p o ss e sse d o f m u c h tragic p ow e r
.
,

a n d dramatic c o mp o siti o n as sh o w n i n his altar pi e c e s e sp e -

,

c i a lly that i n t h e M u n ich G all e ry His p o rtra i ts sug g e st a

.

f oll owi n g of D if r e r th o u gh l oo s e r in th e drawin g a n d fr e e r i n

t h e pai n ti n g tha n D ii r e r s w o rk
’
.

N e xt to Bu rgk m a i r c om e s t h e c e l ebrat e d H o l b e i n famil y .

Th e r e w e r e f o u r o f th e m all t o ld but o n ly two O f th e m Ha n s

, ,

t h e E ld e r a n d Ha n s th e Y o un g e r n e e d b e m e n tio n e d
,
H ol .

b e i n th e E l d e r (1 4 7 3 ? aft e r Bu rg k m ai r was th e b eSt

' ’ '

pai n t e r o f his tim e a n d sc h oo l with o u t b e i n g in h ims e lf a gr e at

ar tist . S c h on gau e r was at first his gui d e th o ug h h e s o o n ,
 G ER M AN PA N T N G I I
submitt e d t o som e Fl e mish a n d C o l og n e i n flu e n c e s a n d lat e r ,

o n f o ll o w e d Italia n form a n d m e t h o d t o s o m e e xt e n t H e was .

a fai r draftsman a n d c l e v e r at catc hin g r e alistic p o in ts o f

,

p hysio g n omy a gift h e l e ft h is son Ha n s I n additio n h e .

had so m e f e e li n g for arc h it e ctu r e a n d o rn am e n t Th e b e st .

h alf of hi s lif e f e ll in th e latt e r part of t h e fift e e n t h c e n tury ,

a n d h e n e v e r ac hi e v e d t h e fr e e pai n t e r s q u ality o f his s o n

’
.

H an s H o l b e in th e You n g e r (1 4 9 7 1 5 4 3 ) h o lds wit h D u r e r

mm
-
, ,

t G e rma n art H e was a m o r e matu r e pain t e r

.

t h an D ii r e r c omin g as h e did a q uart e r o f a c e n tury lat e r H e

,
.

was th e R e n aissan c e artist o f G e rman y wh e r e as D ii r e r always ,

h ad a littl e of th e G o t h ic cl in gi n g t o him T h e tw o m e n w e r e .

wid e ly dif f e r e n t i n th e i r po in ts o f vi ew a n d i n th e i r w o r k .

D ii r e r was a s e e k e r aft e r a typ e a r e ligi o us pai n t e r a pai n t e r

, ,

o f pa n e ls a n d p o rtraits with t h e spirit o f a n e n grav e r H o lb e i n .

was e mphatically a r e alist fi n din g mat e rial in th e actual lif e

ab o u t h im a d e s ig n e r o f cart oon s a n d larg e wall pain ti n gs in
,

s o m e thin g of th e Italian spirit a m an w h o pai n t e d r e ligi o us

,

th e m e s b u t with littl e spi r itual sig n ifica n c e a pai n t e r o f sup e rb ,

portraits ab o v e all .

It is pr obabl e that Ho lb e i n g o t his first i n structi o n fr o m h is

fath e r an d fr o m B u rg k m a ir H e was an i n fa n t pr o digy d e
.
,

v e lop e d e arly saw m u ch f o r e i g n art a n d sh o w e d a n u mb e r o f

, ,

t e n d e n ci e s in his w o rk I n c omp o siti o n a n d drawi n g h e

.

app e ar e d at tim e s t o b e f o ll owi n g M a n t e g n a a n d th e n o rth e r n

Italia n s ; in br u sh w o rk h e r e s e mbl e d th e Fl e mi n gs e sp e c ially
-
,

M e tsys ; y e t h e was n e v e r a n imitat o r o f e i t he r Italia n or

Fl e mish pain t in g . D e cid e dl y a s e lf suffi ci e n t a n d a n o bs e r vi n g
-

m an h e trav e ll e d i n Italy a n d th e N e th e rla n ds an d sp e n t

, ,

muc h o f his l i f e i n E n gla n d wh e r e h e m e t with g r e at succ e ss

,

at c o u rt as a p o rtrait pai n t e r Fr o m s e e i n g m u c h h e assimi

-
.

l at e d much y e t always r e mai n e d G e rma n c h an gi n g his sty l e

, ,

but littl e as h e gr e w o ld e r His wall pai n ti n gs hav e p e rish e d

.
,

but th e d r awi n gs fr o m th em are pr e s e rv e d an d S h o w h im as

2 88 I
H S TO R Y O F PA N T N G I I
an artist o f m u c h i nv e n tio n H e is n ow k n o w n c h i e fly by h is
.

p o rtraits o f whic h th e r e a r e ma n y o f gr e at e xc e ll e n c e His

,
.

facility in graspi ng p h ysi og n omy an d r e ali zi n g Charact e r t h e ,

q u i e t dig n ity o f his c omp o siti on h is firm m o d e lli n g cl e a r , ,

o u tli n e,
harm o n i o us c o lori n g e xc e ll e n t d e tail a n d e asy s ol id
, ,

pai n ti n g all plac e h im i n th e fr o n t ra n k o f gr e at pai n t e rs N 0

,
.

mast e r e v e r e mpl oy e d li n e ar drawi n g with m o r e tr u th fo r c e ,

FI G . 1 31 .
— F Z RI T VO N U D H E . C H RI S T I N TH E G D
AR EN .

a nd sig n ifica n c e i n e v e ry t o uc h t h a n H o lb e i n His D a rmstadt .

M ad o n n a his p o rtra i t o f th e D u ch e ss o f M ila n i n th e N atio n a l

,

G all e r y o r o f M o r e i n t h e L o u v r e sh o ws h is a r t t o g r e at
,

adva n tag e .

S A XO N S C H O O L " Lu c a s C ra n a c h (1 4 2 1 ) w a F r a n
7 5 53 as -

c o n ia h mast e r w h o se ttle d i a axo n y a n d w a s s u cc e ssiv e ly

’ '

c o u rt pai n t e r to thr e e E l e ct o rs a n d t h e l e ad e r o f a small l o ca l

—

sc ho o l th e r e H e w a s pr o bably a p u pil o f his fath e r an d may

.
2 90 I
H S TO R Y O F PA NT N G I I
t h ough t to b e g r e at in p o rtraitur e by th e mi n ut e im itatio n of
h air fr e ckl e s a n d th re e days old b e ard a p e tty a n d un
, ,
-
’
- —

w o rthy r e alism which e xcit e d s om e curi o sity but n e v e r h el d

r a n k as art S t ill lat e r cam e M e n g s (1 7 2 8 1 7 7 9 ) w h o g r e atly
.
—

admir e d an d fo ll ow e d R apha e l a n d C o rr e ggi o a n d t h oug h t to ,

FI G . 1 32 .
-
TH O MA . L D P
AN S CA E .

attai n sub l imity by c o mbi n i n g th e e xc e l l e n c e s o f t h e s e gr e at

Italia n s His w o rk th o ug h acad emic a n d c o rr e ct is l acki n g
.
, ,

i n spirit a n d an d in f o rc e A n g e li c a K a u ff m an (1 7 4 1 1 8 0 7 ) was
.
—

n o t u n lik e M e n gs a n d s u cc e e d e d i n pl e asi n g h e r i n a r tistic

a g e with t h e simply pr e tty w h il e C ar s t e n s (1 7 5 4 1 7 9 8 ) was

—
,

a co n sci en tio u s if mistak e n stud e n t of th e g r e at Ital ia n s a

 G E RM A N PAI N T N G I 291

m an of s om e s e v e r ity in f o rm a n d o f acade mic in cl in atio n s

but wit h littl e s e n s e o f c ol o r a n d l e ss d e c or ativ e f e e li n g .

N I N E TE E N TH C E N TUR Y " I n t h e first part o f t h e n in e

t e e n th c e n tu r y t h e r e sta r t e d i n G e r ma n y a r e viva l of a r t “ ”

”
le d by th e S O call e d
“
-
N aza r en e s O ve r b e ck (1 7 8 9
,

C or n e li u s (1 7 8 3 V e i t (1 7 93 a n d S ch a d o w (1 7 8
9
but lik e man y a n o th e r r e vival of art it did n o t am o u n t
t o m u ch T h e att e mpt t o r e viv e t h e past is u s u ally a fa i l u r e
. .

T h e f o rms a r e caught but th e spi r it is lost

,
Th e n in e t e e n th.

c e n tury att e mpt in G e rma n y was b r o u g h t ab o ut aft e r 1 8 1 0

by th e st u dy o f fifte e n th c e n tu ry pain tin g i n Italy an d th e
-
,

takin g up o f th e p r imitiv e pa in t e r s in a p r e R ap h a elit e mann e r -

.

It was a r e acti o n again st classicism an d e cl e cticism in wh ich

t h e G e rma n r o ma n ticism o f t h e tim e play e d a n imp o rta n t pa r t .

O v e rb e ck r e mai n e d i n R o m e but t h e o t h e r s aft e r som e tim e

/

, ,

i n Italy r e t urn e d to G e rma n y diff us e d t h e i r t e ac h i n g a n d

, , ,

r e a ll y f o rm e d a n ew e p o ch in G e rman pai n tin g A m o d e r n .

a r t b e ga n wit h ambiti o n s a n d subj e cts e n ti r e ly dispr op o rti o n at e

t o its skill T h e m o n um en ta l th e id e al t h e classic t h e e x

.
, , ,

alt e d w e r e sp r e ad ov e r e n o rm o us spac e s but t h e r e was n o

, ,

r e aso n fo r such w o rk in th e c on t e mp o ra ry G e rman lif e an d ,

n o t hi n g t o warra n t its app e ara n c e sav e t h at its b e tt e r had

app e a r e d in Italy d u ri n g th e R e n aissan c e C o r n e l ius aft e r .

his r e tur n b e cam e th e h e ad o f th e

M UN I CH S C H O O L a n d pai n t e d pictur e s o f t h e h e r o e s of
t h e cl a ssic a n d t h e C hr istia n w o r ld u p o n a larg e scal e N o thin g .

b iI t t h e i r si z e a n d go o d i n t e n ti on e v e r br o u ght th e m i n t o n o tic e ,

f or th e i r f o r m a n d c o l o ri n g w e r e b o t h comm o n plac e a n d n eg
l igibl e S chn o r r (1 7 94 1 8 7 2 ) fol l ow e d i n th e sam e sty l e wit h
.
-

th e N i e b e lu n g e n L i e d C harl e mag n e ,
an d B arbar o ssa for
,

s ubj e cts K a u l b a ch (1 8 0 5 1 8 74 ) was a pup il o f C o rn el ius

.
—
,

a n d h ad som e abil ity but littl e tast e a n d n o t e n o ug h o r igi ,

n a li ty to pr o duc e g r e at art H e is n o t t o b e tak e n s e ri o usly

. .

Pil oty (1 8 2 6 1 88 6 ) was mo r e r e alistic m o r e of a pai n t e r a n d

-
,
292 I
H S TO R Y I
O F PA N T N G I
ra n ks as o n e o f th e b e st o f t h e e arly M u n ich mast e rs H e .

was a p u pil o f S ch n o rr a n d p u t a garb o f c o l o r o v e r t h e m e agr e

sk e l e t o n o f f o rm se t f o rth by his mast e r H e was als o a fam o us .

t e ach e r a n d had fo r p u pils M a k ar t (1 84 0 , a n A ustria n

w h o had g o o d t e ch n ical q u aliti e s a n d a pr o f u si o n o f c o l o r ,

M ax (1 8 4 o a s om ewh at o v e r r at e d pai n t e r o f s e n tim e n tal

-

FI G . 1 33 . L B
IE E R MA N N . O N TH E B E A CH .

t h e m e s D e fr e gg e r (1 8 3 5 a n d G ru tzn e r (1 84 6
,
pai n t e rs O f ’

p e asa n t gen r e L e mb a c h (1 8 3 6
,
a f o rc e f u l p o rtrait pai n t e r -

i n a R e mbra n dt e squ e v e i n A ft e r Pilo ty th e t e n d e n cy o f

.

M u n ich art w a s t o ward gen r e s u bj e cts with r e alistic d e tail ,

a n d t o day it r e fl e cts all t h e m o d e r n m o v e m e n ts s e t by t h e

-

impr e ssi o n ists sym b o lists or to n a lis ts o f Paris o r L o n don

, ,
.

D US S E LD O RF S C H O O L " A ft e r 1 8 2 6 t h is sch ool cam e i n t o

p r omi n e n c e u n d e r th e g u idan c e o f S c h ad o w It did n o t fa n cy .
2 94 I
H S TO R Y O F PA N T N G I I
G e rma n a ffi n iti e s lik e M u n k a c sy (1 8 4 6
,
a Hu n garian ,

w h o is p e rhap s m o r e Parisia n tha n G e rma n i n t e c h n iq u e ,

a n d B oc k l i n (1 8 2 7 a S wiss w h o is q u it e by hims e lf ,

i n fa n tastic a n d g r o t e squ e s u bj e cts a w e i r d a n d u n c a n n y ,

imagi n ati o n a n d a brillia n t prismatic c o l o r i n g T h e y o u ng e r .

m e n w h o a r e t o day pa i n t i n g i n B e rli n D r e sd e n o r M u n ic h
-
, ,

d o n o t lack fo r n o v e lty o f th e m e m o d e r n ity o f vi e w or skill i n , ,

e x e c u ti o n but th e y a re n o t y e t cast i n t h e p e rsp e ctiv e O f hist o ry

,

a n d fo r t h at r e as o n a r e n o t m e n ti o n e d h e r e .

E XTA N T r ma a rt i t h r a rly
W O RK S lat a t b
" Ge n ,
e e e or e, c nno e

s tu d i d ff ti v ly ut s i d f G r ma y T h l a l mus ums
e e ec e o e o e n . e oc e are

ma y d t a i usua lly b t h a i t d m d r xamp l s E a rly

n an co n n o n c en an o e n e e .

a rt i p r h aps b s t s i t h g a ll ri s a t B rl i Dr s d C l g
s, e ,
e een n e e e e n, e en , o o ne,

Mu i h
n c d Vi
, an a M d r w r k i i t h N w G a ll ry a t B rl i
enn . o e n o s n e e e e n,

a l s i t h g a ll ri s a t Dr s d H am b urg Fr a k f rt d l s w h r
o n e e e e en, ,
n o ,
an e e e e .

Th e A m ri a g a ll r i s h av
e c n w rt h y r p r s t a ti
e e f G r ma e no o e e en on o e n

a rt t h ug h as i a lly a m d r xamp l f M u i h D ii ld f
o o cc on o e n e e o n c or ss e or

i t b f u d
s o e t h wa ll s
o n on e .
 CH A PTE R XXI

BRI TI S H PA I N TI N G

BO O K S R E C O MME ND E D " A rmstr o n g , A r t i n Grea t B r i ta i n

a n d I r ela nd; Ga i n sbor ou gh ; S i r H en r y R a ebu r n ; S i r J osh u a

R eyn olds; S cotti sh P a i n ter s; Tu r n er ; B ald w i n B r ow n , Th e

-

Gl gas ow S ch ool of P a i n te ;
r s B ur n e -
Jon e s , L ife of S i r Ed wa rd
B u r n e-J on es; B urt on , C a ta logu e of Pi ctu r es i n N a ti on al G a l
ler y; C h e sn e au , L a P ei n tu r e a n glai se; C oo k , A r t i n E n gla nd ;
C u nn in g h am , L i ves of th e m ost E mi n en t B r i ti sh A r ti sts; D o bs on ,
L ife of H oga rth ; G ilc h rist , L ife of Bla k e; L ife of E tty; G o w e r ,
S i r Th omas L aw r en ce; Ham e rto n , L i fe of Tu r n er ; H e n d e rs on ,
C on sta ble; H o dgs on , F ifty Yea r s of B r i ti sh A r t; Hu n t , Th e
P r e R aph a eli te B r oth er h ood (C on tempor a ry Revi ew , 1 88 6 )
-

L e sli e , L ife of C on sta ble; S i r J osh u a R eyn olds; M a r tin a n d

N e wb e r ry , Gla sgow S ch ool of P a i n ti n g; M c K ay , S cotti sh S ch ool
of P a i n ti n g; M i ll ais , L ife of S i r J oh n E ver ett M i llai s; M o n k

h ous e , B ri ti sh C on tempor a ry A r ti sts; R e dgrave , D i cti on a ry

of A r ti sts of th e E n gli sh S ch ool; R o m n e y , L ife of G eorge R om

n ey; R o ss e tti , Fi n e A r t, ch i efly C on tempor a r y, R uski n , A r t

i n E ngla nd; P r e Raph d eli ti sm; S a n dby , H i story of
-
R oyal

A cad emy of A r ts; W i lliam B e ll S c o tt , A u tobi ogr aph y; S cott ,

B r i ti sh L andscape P a i n ter s; S iz e ra n n e , H i stoi r e de la P ei n tu r e
a n glai se con tempor a i r e; S t e ph e n s , C a talogu e of P r i n ts a nd
D r awi n gs i n th e B r i ti sh M u seu m; S wi n bu rn e , Wi lli a m Bla k e;
T e mp l e , P a i n ti n g i n th e Qu een s Rei gn ; Va n D yk e , O ld E n gli s h
’

M asters; W alp o l e , A n ecdotes of P a i n ti ng; W a r d a n d R o b e rts ,

Romn ey; W e dm o r e , S tud i es i n E n gli sh A r t; G l e e so n W hi t e ,

Th e M a ster P a i n ter s of B r i ta i n ; W i lmot - B uxto n , E ngli s h
P a i n ter s; W rig h t , L ife of Ri ch a r d W i ls on .

I I I
BR T S H PA N T N G I It may b e p r emis e d in a g en e r a l way
"
,

t h at th e B ritis h pai n t e r s h av e n e v e r poss e ss e d a picto r ial

cast of mi n d in th e s en s e t h at th e Ita l ia n s th e Fr en c h or th e
, ,
2 96 I
H S TO R Y I
O F PA N T N G I
D u tch hav e p o ss e ss e d as a p u r e ly d e c o rativ e
it . Pai n ti ng ,
arra ng em e n t o f li n e a n d c o l o r has b e e n s om e what f o r e ig n t o
,

th e i r c o n c e pt io n W h e th e r this fa ilu re t o g p re cia t e pai n ti n g

.
\

as d e c o rati o n is th e r e s u lt O f g eo graphical p o si ti on , i sOlHtio n ,

rac e t emp e ram e n t o r m e n tal disp o siti on w o u ld b e hard t o

, ,

d e t e rmi n e It is q u it e c e rtai n that fr om tim e imm e m o rabl e

.

t h e E n gl i sh p e opl e hav e n o t b e e n lacki n g I n t h e appr e ciati o n

o f b e a u ty ; b u t b e auty h as app e al e d t o th e m n o t so muc h ,

thr o u gh t h e e y e i n pai n ti n g a n d sc u lpt u r e as thr o u gh th e e a r ,

i n p o e try a n d lit e ratur e T h e y h av e b ee n thi n k e rs r e as o n e rs

.
, ,

m o ralists writ e rs rath e r t h a n o bs e rv e rs a n d artists i n c ol o r

, , .

Imag e s hav e b e e n br o u ght to t h e ir mi n ds by w o rds rath e r tha n

by f o rms E n glish p o e try h as exist e d si n c e th e days o f A rt hur
.

a n d t h e R o u n d T abl e but E n glish pai n ti n g is o f c o mparativ e ly

,

m o d e r n o r igi n a n d it is n o t w o n d e rf u l that t h e o rigi n al l e a n i n g

,

o f t h e p eopl e t o ward lit e ratur e a n d its s e n tim e n t sh o ul d fin d

its way i n t o pict o rial r epr e s e n tati o n A s a r e sult o n e may .

say i n a v e ry g e n e ral w ay that E n glish pai n ti n g is m o r e ill u s

tra ti v e tha n cr e at i v e It O ft e n e n d e avo rs tor e co rdI h ing s that
.

might b e m o r e p e rti n e n tly a n d c ompl e t e ly t o ld i n p o e try ,

r o ma n c e o r h ist o ry T h e c o n c e pti o n of larg e art m o n u

,
.
—

m e n tal a n d hist o rical w o rk o f th e R ub e n s T it i a n typ e has -

n o t b e e n giv e n t o t h e E n glish p ai n t e rs sav e i n e xc epti o n a l ,

cas e s T h e ir s u cc e ss h as b ee n in p o rtraitur e a n d l a n dscap e

.
,

a n d this lar g e ly by r e as o n o f f o ll o wi n g t h e m o d e l .

E AR L Y PA I N TI N G " T h e e arli e st d e c o rativ e art app e a r e d

i n Ir e la n d It w a s p o ssibly bro u ght th e r e by th e first wave

.

o f C hristia n ity that r e ach e d its h e ight i n t h e s e v e n th c e n t u ry .

I n t h e n i n th a n d t e n th c e n t u ri e s ma n uscript ill u mi n ati o n o f a

By z a n ti n e cast wi th l o cal m o dificati o n s b eg a n t o S h o w
,
In ,
.

t h e thirt e e n th c e n t u ry th e E n g l i sh i ll u mi n ati o n s had achi e v e d

a h igh pitch o f e xc ell e n c e a n d w e r e disti n ct iv e o f th e tim e a n d

p e opl e T his n ati o n ality i n art i n cr e as e d with th e n ext
.

c e n tury th o ug h s o m e N o rma n i n flu e n c e was appar e n t i n it .

2 98 I
H S TO R Y O F PA NT N G I I
S tr e t e , C o l e , G ow e r , B a con , J on s on , w h o w e r e i nflu en c e d by
H o lb e i n a n d o th e rs ; D o b s on S t on e L ani e r Jam i son e W alk e r
, , , , ,

W h o f o ll o w e d Va n D yck ; G r e e n hi ll a n d J o hn H ayl s w h o cam e

aft e r L e ly ; Ri char d s on a n d H u d s on w h o d e rive d f ro m Kn e ll e r .

B u t E n glish pai n ti n g o f imp o rta n c e h ardl y dat e s f ro m t h e s e

pr imitiv e s It did n o t r e ally ris e u n til th e b e gi n n in g of th e
.

e i g ht e e n th c e n tu r y t h at c e n tu ry so d e ad i n art ov e r all th e
r e st o f E u rop e .

FI G URE A N D PO R TRA I T PA I N TE R S " A sid e from a fe w p r e

curs o r s s u ch as Th orn h i ll th e fi r st E n glish a r tist of n o t e was
, ,

H og ar th (1 6 9 7 H e was a n il lustrat o r a m o ra l ist , ,

a n d a satirist as w e l l as a pai n t e r T o p o i n t a m o ral u p o n

.

ca n vas by d epicti n g th e vic e s o f h is tim e was his av o we d a im ,

b u t in d o i n g so h e did n o t l o s e si g ht o f pictorial b e auty C h a r m .

o f c o lor th e pai n t e r s tast e i n a r ra n g e m e n t l ig h t air s e tti n g

’
, , , , ,

w e r e his in a r e markabl e d e gr ee H e was n o t succ e ssfu l i n.

larg e c omp o siti on s b u t i n small pictur e s lik e th o s e O f T h e

,

R ak e s Pr ogr e ss h e was e xc e ll e n t A n e a r ly m a n a rigid

’
.
,

stickl e r fo r th e r epr e s e n tatio n a k e e n obs e rv e r o f physi ogn omy

, ,

a satirist wit h a s en s e of th e absurd h e was o ft e n wa rp e d in ,

h is art by th e n e c e ssiti e s of his s ubj e ct a n d was som e tim e s

hard an d dry i n m e thod ; b u t i n h is b e st w o rk h e was q u it e a
p e rfe ct pai n t e r H e was th e first o f th e E n glish scho ol an d
.
,

p e rhaps th e m o st o rigi n al o f that schoo l T his is quit e as .

tr u e o f his t e ch n iqu e as o f h is p oi n t o f vi e w Bot h w e r e o f his .

o w n cr e ati o n His s u bj e cts h av e b e e n talk e d ab o ut a gr e at

.

d e al i n th e past ; but his p a i n ti ng is n o t to this day va l u e d as

it sh o ul d b e .

T h e n e xt m an to b e m e n ti o n e d o n e o f th e m o st c o n sid e r abl e
,

o f all t h e E n g l i sh sch oo l is S i r J o s h u a R e yn o l d s (1 7 2 -
, 3 1
H e was a p u pil o f H u ds o n but ow e d h is art to ma n y so u rc e s
, .

Be sid e s t h e i n flu e n c e o f H oga r t h Va n D yck R e mbra n dt h e

, , ,

was fo r s o m e y e ars i n Italy a dilig e n t st u d e n t o f th e gr e at

,

Italia n s e sp e cially th e Ve n e tia n s C o rr e ggi o a n d th e Bo l og n e s e

, , ,
 I I
BR T SH PA NT N G I I 2 99

E c l e ctics . S ir J o sh ua was i n cl i n e d
cl e ctic h ims e lf to be e ,

f o r h e was n o t a m an o f v e ry l o fty imagi n ati o n or gr e at i n

v e n ti o n n o t a g r e at o rigi n al A f e w fig u re pi e c e s aft e r th e
.
-
,

T itia n i n itiativ e cam e fr o m his studi o but his r e putati o n r e sts

, ,

upon h is man y po r t r aits I n po r t r aitu re h e was O ft en b eyo n d

.

FI G 1 35
— RE Y LD
NO S L DY KB U
A COC RN A ND CH I LD RE N

L G LL Y L
. . . .

N A TI O N A A ER , O ND O N .

criticism giv ing th e r e alistic r e pr e s e n tati on with dig n ity an

,
-

e l e vat e d spirit a n d much d e c o r ativ e e ff e ct

,
Bu t e v e n i n .

p o r t r aitu r e wit h han dso m e wom e n fo r sitt e rs h e w as n o t a

, ,

pai n t e r w h o could pai n t e n t h usiastically or e xcit e e n t h usiasm

i n th e sp e ctat o r T h e r e w a s too much o f r ul e a n d p r e c e d e n t
.
,

t oo muc h r e ga r d for t h e traditi o n s for him t o do a n ythi n g ,

in spir e d . His b r ush wo r k an d comp o sitio n w e r e m o r e l e a rn e d

3 0 0 I
H S TO R Y O F PA N T N G I I
tha n i n d ivid u al a n d h is c o l o r th o u g h u s u ally g o o d was o ft e n
, , ,

tim e s c o n v e n t io n al i h c o n trast T ak i ng him fo r all i n all h e

.

w a s a v e ry c u ltivat e d pa i n t e r a m a n t o b e r e sp e ct e d a n d
,

admir e d a pr e sid e n t o f t h e R oyal A cad e my wit h all that that

,

impli e s b u t h e had n o t q u it e th e o rigi n al spirit that w e m e e t

,

with in Gai n sb o r o u g h .

R ey n o lds w a s w e ll gr o u n d e d i n Ve n e tia n c o l o r Bo l og n e s e
-
,

c omp o s i ti o n Parm e s e light an d shad e a n d paid t h e m th e

,
- -
,

h o ma g e o f assimilati o n ; b u t if G ai n s (1 7 2 7 1 7 8 8) -

had s u c h s ch o o l k n owl e dg e h e su his ow n i n

div i d uali ty H e dislik e d all c o n v e n ti o n al i ti e s a n d f o rm u las
.

n o twithsta n di n g h e w a s i n fl u e n c e d by t h e D u tchm e n i n la n d

scap e a n d Va n D yck i n p o rtrait u r e W ith a n at u ral tast e for

'

f o rm a n d c ol o r a n d with a larg e d e c o rativ e s e n s e h e w e n t

, ,

m u ch to n atur e an d t o o k fr o m h e r th e mat e rials which h e

,

fashi o n e d i n t o art aft e r his ow n p e c u liar ma n n e r His c e l e .

b r a t e d Blu e Bo y w a s h is pr o t e st agai n st t h e c o n v e n ti o n al
r u l e o f R ey n o lds that a c omp o siti o n sho u ld b e warm i n c ol or
a n d light A ll thr o u g h his w o rk w e m e e t with d e partur e s
.

fr o m acad e mic ways By di n t o f n ativ e f o rc e a n d grac e h e

.

mad e rul e s u n t o hims e lf S om e o f t h e m w e r e n o t e n tir e ly

.

s u cc e ssf u l a n d i n drawi n g h e might hav e profit e d by sch ool

,

trai n i ng ; b u t h e was o f a p e c u liar p oe tic t e mp e ram e n t w i th a ,

dash o f m e lan ch o ly abo u t him a n d pr e f e rr e d t o w o rk in his

,

ow n w ay .I n p o rtrait u r e his c o l o r w a s rath e r c o ld ; i n la n d

scap e m u c h warm e r His br u sh wo rk w a s as O dd as hims e lf
.
-
,

b u t u s u ally e ff e ctiv e a n d his acc e ss o ri e s i n fig u re pai n ti n g

,
-

w e r e littl e m o r e tha n d e c o rativ e aft e r th o u ghts Bo th i n -

.

p o rtra i t u r e a n d la n ds c ap e h e w a s o n e o f th e m o st t emp e ra
m e n tal a n d m o st E n gl i sh O f all th e E ngl i sh pai n t e rs a m a n
n o t y e t e n tir e ly appr e ciat e d th ou gh fr o m th e first ra n k e d
,

am o ng th e f o r e m o st i n E ng lish art .

R om n e y (1 7 3 4 a p upil o f S t e e l e w a s o ft e n q u it e as ,
’

mast e rf u l a p o rtrait pa i n t e r as e ith e r R e y n o lds o r G ai n s

-
3 0 2 H S TO RI Y O F PA N T N G I I
th e b r ush cl e v e r i n l in e a n d c o l o r brillia n t to th e last d e g r e e
, , ,

but lacki ng in that simplicity o f vi e w a n d m e t ho d w h ic h marks

t h e gr e at mi n d His c o mp o siti o n was rath e r fin e i n its d e c o
.

r a t iv e e ff e ct
,
and th o ugh his ligh ts w e r e o ft e n faulty w h e n
,

c o mpa r e d with n atur e th e y w e r e n o l e ss t e llin g fr o m th e

,

FI G 1 3 6 — G AI N S B UG
O RO H DD MR S SI O NS N A TI O NA L
G LL Y L D
. . . . .

A ER , ON ON .

sta n dpoi n t o f pict ur e maki n g H e w as muc h a dmir e d by

-
.

a r tists i n his day a n d as a t e ch n icia n h e c e rtai n ly h ad mor e

, , ,

t h a n av e r ag e ability H e was hardly an artist lik e R e y n olds

.

or G ai n sb o ro u gh b u t amo n g th e m e di o cr e pai n t e rs o f his day

,

h e sh o n e lik e a star It is n o t w o r th whil e to say much about

.

h is co n t empo r a r i e s E tty (1 7 8 7 1 84 9) was on e of t h e b e st of

.
-
 I I
BR T S H PA N T N G I I
th o s e d e vot e d to figur e pain ti n g an d h e sh ow e d skil l i n drawi n g
t h e n ud e but hi s G r e e k typ e s a n d classic aspirati o n s gr o w a
,

l ittl e w e a ris om e on acquain tan c e H ay d on (1 7 8 6 1 84 6 ) was .

-

ambiti o us but n e v e r a g r e at succ e ss ; C opl e y on th e c on t r ary , ,

was v e r y succ e ssful in E n glan d as was also l Ves t but t h e y , ,

w e r e b o t h A m e r ican bo rn an d fin d m en ti on in th e n e xt
c h apt e r .

W illi am B la k e ( 1 75 7 1 8 2 7) was h a r dl y a pain t e r a t al l

-
,

t h ough h e dr e w a n d col o r e d th e stran g e figu r e s of his fan cy

a n d ca nn o t b e pass e d o v e r i n a n y h ist o r y of E n glis h art He .

was p e rhaps th e m o st imagin ativ e a r tist of E n gl ish bi r t h ,

t h o ugh that imag in ation was o ft en di so rd e r e d a n d alm o st

in c o h e r e n t H e was n o t a c o rr e ct dr aftsma n a m an wit h
.
,

n o g r e at c o l o r s e n s e an d a w o rkma n with o ut t e c h n ica l train

-
,

i n g ; a n d y e t i n spit e o f all t h is h e dr e w s o m e fig ur e s t h at a r e
, ,

almost s u bl i m e i n th e ir sw e ep an d p o we r His d e co r ativ e .

s e n s e i n filli n g spac e wit h l in e s is w e ll sh o w n in h is illustrati on s

t o th e Boo k o f Job W e i r d a n d u n can n y i n t h o ug h t d e l vin g
.
,

in t o th e un k n o wn h e O p en e d a w o r ld o f myst e ry p e opl e d wit h

, ,

a stra n g e A p o calyptic r ac e w h o s e w r ith in g flowin g b o di e s ar e

, ,

t h e e pit o m e of g r ac e ful gra n d e u r .

G E NRE PA I N TE R S " F r o m Blak e t o M or lan d (1 7 6 3 1 8 04 ) is

- —

a st ep ac r o ss spac e fr o m h e av en to e arth M o rlan d was a .

r e a list o f E n glish c o un t ry lif e h o rs e s at tav e rn d oo rs catt l e

,
-
, ,

pigs H e was als o so m e t h in g of a s en t im e n talist an d picture

.

mak e r in his r e pr e s e n tati on s o f grac e fu l gr o u ps o f Ch ildr en

a n d y o u n g girls W h at h e b e l i e v e d his pictu r e s do n o t t ell us
. .

Al l w e k n ow is that in g r ac e fuln e ss o f r e pr e s e n tati o n s i mplicity ,

O f pain ti n g r ich n e ss o f c o l o r a n d li g ht his pictur e s w e r e oft e n

, ,

o f a fin e quality A s a skil f ul t e ch n icia n h e st oo d q u it e alo n e

.

i n h is tim e a n d s e e m e d t o sh o w m o r e a fli n i ty wit h th e D utc h

,

e r e pai n t e rs tha n t h e E n glis h p o rtrait pai n t e r s His wo r ks —

g n -
.

a r e much pr i z e d t o —day a n d w e r e so du r i n g t h e pai n t e r s l if e

’
,

a r e ckl e ss dissipat e d l if e that en d e d pr e matu r e ly .

3o4 I
H S TO R Y O F PA N T N G I I
S i r D avid W i l k i e ( 1 was
78 5 als -
o som e wh at l ik e th e
1 84 1 )
D u t c h i n s u bj ec t a gen r e pa in t e r f o n d o f t h e villag e fet e a n d
,
-
,

d e pi c t ing it with car e f u l d e tail a l impid br u sh a n d g o o d t e xt

, ,

u ral e ff ec ts I n 1 8 2 5 h e trav e ll e d ab ro ad was g on e so m e y e ars

.
, ,

w as impr e ss e d by Ve lasqu e z C o r r eggi o a n d R e mbra n dt

, , ,

a n d c o mpl e t e ly c ha n g e d his sty l e H e t h e n b e cam e a p o rt r ait

.

FI G . 1 37 .
— MO R A NL D . TH E INN .

and hist o rical pai n t e r H e n e v e r o utliv e d th e n e r vous con

.

stra in t that sh o ws in all his pictur e s an d his brush th o ug h , ,

facil e withi n limits w a s n e v e r fr e e or b o ld as c o mpar e d with a

,

D u tchma n l ik e O s t a d e I n t e ch n ical m e th o ds Lan d s e e r (1 8 0 2

.

t h e pai n t e r o f a n imals was s o m e what lik e him

,
T hat .

is to say th e y b o th had a m e tho d o f pai n ti ng su r fac e s a n d

,

r e n d e ri n g t e xt u r e s that was m o r e sma r t tha n p ow e rful

“ ”
.

T h e r e i s littl e s o lidity o r d e pth t o th e br u sh work o f e ith e r -

,

th oug h b o th a re impr e ssiv e t o th e sp e ctat o r at fi r st sight .

L a n ds e e r k n e w th e habits a n d t h e a n at o my o f a n imals v e ry
w e ll b u t h e n e v e r had a n appr e ciatio n o f th e b r ut e in th e
,
3 6 6 I
H S TO R Y I
O F PA N T N G I
us u ally i n tr o d u c e d a fe w fig u r e s fo r r oma n tic o r Classic asso
c i a t io n
. C o n sid e ra b l e e l e vati o n o f th e m e a n d spirit ma r ks
m o st o f his pict u r e s a n d all o f th e m hav e a classic r ep o s e sug
g e s t i v e o f C la u d e His ca . n vas e s did n o t m e e t wit h muc h s u c

c e ss at th e tim e t h e y w e r e pai n t e d I n mor e mod e r n days .

W i lso n has b e e n r a n k e d as t h e t r u e fo u n d e r of l a n dscap e i n

E n gla n d a n d o n e o f t h e most si n c e r e o f E nglis h pai n t e rs
, .

FI G . 1 38 . U
— T RN E R . FG
I H TI N G T EMERAIRE . TA TE G LL Y L D
A ER , ON ON .

TH E N O RW CH S C H O O I ( L " o u g h
O l d C r om e
th 1 76 9
i n fl u e n c e d to s om e e xt e n t by W ils o n a n d t h e D utch pai n t e rs ,

w a s a n o ri g i n al tal e n t pai n ti n g E n glish sc e n e ry with much

,

S implicity a n d c o n sid e rabl e p ow e r H e w a s s o m e tim e s r asp .

i ng wit h his b r u sh a n d had a small m e th o d o f r e c o rd i n g d e tails

,

c ombi n e d with ma n n e risms o f drawi n g a n d c omp o siti o n a n d ,

t g av e a n o u t o f d o o rs f e e li n g i n li g ht a n d air that was

—
y e -

ast o n ishi n g His larg e tr e e s hav e truth o f mass a n d acc u racy

.

o f drawi n g a n d his f o r e gr o u n ds a r e pai n t e d wit h s o lidity

,
.
 BR T S HI I PAI N T N G I 30 7

He was a k een stud e n t o f n at ur e a n d dr e w about him a n umb e r

,

o f l a n dscap e pa in t e rs at No r wich w h o f o rm e d t h e N o rwic h

,

S c h ool .C r om e was its l e ad e r a n d t h e sch o ol mad e its in

, ,

flu e n c e f e l t up on E n glis h l a n dscap e pai n ti n g J B C r om e . . .

(1 7 93 S t ar k (1 7 9 4 Vi n c e n t (1 7 9 6 be
l on g e d to it but C otrn an (1 7 8 2 1 84 2 ) was th e b e st pai n t e r of
,
-

th e g r o up His wat e r col o r drawi n gs o f a r chit e ct u r e la n d

.
-
,

scap e an d h a rb o r sc en e s a r e e xc e ll e n t i n b r e adth a n d c o l o r
,
.

M o r e o v e r h e h ad imagi n ati on a n d fin e f e e li n g t o a gr e at e r
e xt e n t t h a n a n y o th e r o f th e sch oo l .

T h e m o st n o t e wo r thy o f t h e E n glis h la n dscapists with t h e ,

e xc e pti o n o f T u r n e r w a s J oh n C on s ta b l e (1 7 7 6
,
His
f o r e ign bias such as it w as cam e fr o m a study o f th e D utc h
, ,

mast e rs T h e r e w e r e tw o so u rc e s fr o m w h i c h th e E n glish
.

la n dscapists dr e w T h o s e w h o w e r e in cli n e d t o th e classic

.
,

m e n l i k e W ils o n C a lc ott (1 7 7 9
,
and
T u rner dr ew ,

f ro m th e Italia n o f Po ussi n a n d C la u d e ; th o s e w h o w e r e
c on t en t t o d o n at u r e in h e r r e al dr e ss m e n lik e G ai n s ,

b o r o ug h a n d C on stabl e dr e w fr om th e D ut c h o f H obb ema

,

a n d h is c o n t e mp o rari e s A c e rtai n s o mbr e n e ss o f c o l o r a n d

.

man n e r o f co mp o siti on in C o n stabl e may b e attrib u t e d to

H o lla n d ; b u t t h e s e w e r e slight f e at u r e s as c o mpar e d with th e
o r igi n a l ity o f t h e m a n H e was a cl o s e stud e n t o f n atur e w h o
.

pai n t e d what h e saw in E n glish c o u n try lif e an d pai n t e d it ,

wit h a kn owl e dg e an d an artistic s e n sitiv e n e ss n e v e r surpass e d

i n E n gla n d T h e r u r a l f e e l i n g w a s st ro n g with him a n d his
.
,

e vid e n t pl e asur e i n s impl e sc e n e s is r e adi ly c omm u n icat e d

to th e sp e ctato r T h e r e is n o att e mpt at t h e gra n d o r th e

.

h e ro ic H e n e v e r car e d much for m o u n tai n s but was f o n d o f

.
,

cul tivat e d uplan ds tr e e s b owli ng cl o u ds a n d torn ski e s

, , ,
.

B u r sts o f su n light st o rms atm o sp h e r e s all pl e as e d him

, , ,
.

W i th d e tail h e w a s littl e c o n c e r n e d H e saw la n dscap e i n .

l arg e patch e s of fo rm a n d c ol o r a n d so pai n t e d it His ha n d

,
.

l ing w as b road an d solid a n d at tim e s a littl e h e avy His

,
.
3 0 8 I
H S TO R Y O F PA N T N G I I
ligh t was o ft e n f o rc e d by sha rp c o n t r ast with sh adows a n d ,

fre q u e n tly his p ict u r e s app e ar sp o tty f ro m isol at e d glitt e rs o f

lig ht str ew n h e r e a n d th er e I n c o l o r h e h e l p e d e limin at e th e
.

br ow n l a n dscap e a n d s u bstit u t e d in its plac e th e g r e e n a n d

blu e o f n at u r e I n atm o sph e r e h e w as e xc e ll e n t His i nflu
. .

FI G I 3O
— CO N S TA BL E C O TT A G E SO U TH K E N S IN G TO N
U UM
. . . .

M SE .

en ec u p o n E ng lish art was impr e ssiv e an d in 1 8 2 4 th e e xh ib i ,

ti o n at Paris o f his Hay W a in t og e t h e r wit h so m e wo rk by ,

Bo n i n gt o n a n d Fi e ldi n g is s u pp o s e d t o hav e h ad a n e ff e ct
,

up o n th e pai n t e rs o f t h e Fo n tai n e bl e a u Barbi zo n S choo l ; but -

t h is latt e r i n flu e n c e has b e e n e xagg e rat e d in stat e m e n t .

3 1 0 H S TO RI Y O F PA NT N G I I
f o ll o w e r o f G i r ti n a re sa n e r tha n h is lat e r ca n vas e s in oil
, .

T h e w at e r c o l o rs a re car e f u lly d o n e s u bd u e d i n c o l o r a n d tr u e
—
, ,

i n li g ht .T h e y b e l o ng i n h i s first p e r i o d F r o m 1 8 0 2 or .
,

th e r e a b o u ts t o 1 8 30 was his s e c o n d p e ri o d i n whic h Italia n

, ,

c o mp o siti o n a n d m u ch col o r w e r e u s e d T h e last tw e n ty y e ars .

o f his lif e h e i n cli n e d t o t h e bi z arr e a n d t ur n e d h is ca n vas e s ,

i n t o c o l o r mas se s that a re o ft e n i n coh e r e n t b u t n ev e rt h e l e ss

s u pr e m e ly b e a u tif u l W ith all his s h o r tc o mi ng s T u r n e r w a s
.

a n artist t o b e r e sp e ct e d a n d ad m ir e d H e k n e w h is craft .
,

FI G . 1 40 .
— L
MI L A I S . VL A E O F RE S T . TATE G LL Y L D
A ER , ON ON .

in fa c t k n e w it so w e l l that h e r e li e d to o muc h o n artificial

,

e ff e cts dr e w away fr o m t h e mod e l o f n at u r e a n d fi n ally pass e d

, ,

i n t o th e e xtrava g a n t .

TH E W A TE R C O L O R I S TS " A b o u t t h e b e gi n n i n g o f t h e
-

n i n e t e e n th c e n t u ry a sch o o l o f wat e r c o l o rists f o u n d e d o rig -

,

i n a lly by C o z e n s (1 75 2 1 7 99 ) a n d G i rti n (1 7 7 5 —
cam e
i n t o pr o mi n e n c e a n d d e v e l op e d E n glish art i n a n e w d i r e ctio n .

I t b eg a n to S h ow with a n ew fo rc e th e tra n spar e n cy o f ski e s ,

t h e l u mi n o sity o f shad o ws t h e d e licacy a n d grac e o f cl o u ds , ,

t h e br ill ia n c y o f l ig ht a n d c o l o r S a n dby a n d Blak e w e r e .

primit iv e s i n th e u se o f t h e m e di u m b u t S t o t h ard e mpl oy e d ,

 BR T S HI I I
PA NT N G I 31 1

it wit h muc h s e n tim e n t c h arm ,

a i r e ff e ct
,
T ur n e r
an d plei n -
.

was q ui t e a mast e r of it a n d his b e st pr e s e rv e d w o rk is d on e

,

i n it Fi e l d i n g (1 7 8 7 1 8 5 5 ) us e d wat e r c o l o r e ff e ctiv e ly i n
.
- -

givi n g larg e f e e li n g fo r spac e a n d air ; P r o u t (1 7 83 1 8 5 2 ) e m -

pl oy e d it i n archit e ct ur al drawi n gs o f th e pri n c ipal cath e drals

o f E u r o p e ; a n d C ox (1 7 8 3 D e w i n t (1 7 8 4 H un t

(1 7 9 0 C a tt e rm ol e (1 8 00 m en wh o s e n am e s o n ly
c an b e m en t ion e d all w on r e c o g n iti on with this m e di u m
,
.

W at e r c o l o r drawi n g is t o day said t o b e a d epartm e n t o f art

- -

t h at e xpr e ss e s th e E n glish pict o rial f e e li n g b e tt e r than a n y

oth e r t h o u gh this is n o t an u n disp u t e d stat e m e n t
,
.

PRE RA PH A E LI TI S M " T his imp o rta n t m o v e m e n t i n E n g

-

l ish pain ti n g was start e d ab o ut 1 84 7 primarily by R o s s e tti

a n d S i r J oh n m
,

(1 8 2 8 H o lm a n H u n t (1 8 2 7

( 9
1 8 2 ass o ciat e d wit h s ev e ral scu lp toW b e ts;
s e v e n in all It w a s a n e m ul ati on of t h e si n c e rity th e l o vin g
.
,

car e an d th e scr up u l o u s e xact n e ss in tr u th that charact e ri ze d

,

t h e Italia n pai n t e rs b e f o r e R apha e l Its adv o c at e s i n cl u di n g

.
,

M r R u ski n th e crit i c mai n tai n e d that aft e r R apha e l cam e that

.
,

fatal facili ty i n a r t whi c h s e e kin g gra c e o f c omp o sit i on l o st

tr u th O f fact a n d sp o n ta n e ity a n d that th e pr op e r c o u rs e fo r
,

m o d e r n pai n t e rs w a s t o r e t u r n t o th e S i n c e rity a n d v e racity

o f t h e e arly mast e rs H e n c e th e n am e p r e R apha e litism a n d
.
—
,

t h e S ig n at u r e s o n th e ir e arly pict u r e s P R B p r e R apha e l i t e ,

. . .
,
-

B r o th e r T o this att e mpt to g ai n t h e tr u e r e g ardl e ss o f e v e ry

.

thin g e ls e w a s add e d a m o rbidity o f th o u ght m i n gl e d with

mysticism m o ral a n d r e l ig io us p o s e a n d st u di e d simplicity
, ,

S o m e of th e pai n t e rs O f t h e B r o th e rho o d w e n t so far as f o l

l o wi n g th e habits of th e e arly Italia n s s e e ki n g r e tir e m e n t ,

f r o m t h e w o rld a n d carryi n g w i th th e m a G o th i c e ar n e st n e ss
,

of air T h e r e is n o d oub t ab o u t th e si n c e rity that e n t e r e d

.

i n t o th e m ov e m e n t It w a s a n h on e st e ffo rt t o g ai n th e tru e
.
,

t h e g oo d a n d as a r e s u lt th e b e a u tif u l ; b u t it w a s n o l e ss
, ,

a st r iv e n aft e r h o n e sty a n d a n im itat e d e ar n e st n e ss T h e

-
.
3 1 2 I
H S TO R Y O F PA N T N G I I
B r o th e rh oo d d id not l o n g th e m e mb e r s drift e d from
last fo r ,

e a c h o th e r a n d b e g a n t o pai n t e a c h aft e r h i s o w n styl e ,

an d ,

r e R apha e l i t i sm pass e d away as i t had aris e n

-
th o u gh n o t
p ,

witho ut l e avi n g a p ow e rful stamp o n E n glish art e sp e cially ,

i n d e co rati o n .

R o ss e tt i a n Italia n by birth t h o u gh E n glis h by ad o pti o n

, ,

w a s t h e t yp e o f t h e B r o th e rh o o d H e was m o r e o f a p o e t .

tha n a pa in t e r t o o k m o st O f h is s u bj e cts from D a n t e a n d

, ,

FI G . 1 4 1 .
— BU J
RN E - O N E S . LV
O E A MO N G TH E R UI N S .

pai n t e d as h e wr o t e i n a mystical r o ma n tic spirit H e was

,
.

always o f a r e tiri n g disp o sitio n a n d n e v e r e xh i bit e d p u bli c ly

aft e r h e was tw e n ty e ight y e ars o f ag e A s a d raftsma n
-
.

h e was awkward i n li n e a n d n o t always tr u e i n m o d e lli n g .

I n c o l o r h e w a s n o t r e markabl e sav e by c o n trast with his

ass o ciat e s th o u gh h e had c o n s id e rabl e d e c o rativ e s e n s e Th e .

sh o rt c o m in g o f his art as with that o f th e o th e rs o f t h e B r o th e r

,

h o o d was that i n s e e ki ng tr u th o f d e ta il h e l o st tr u th o f
,

en sem ble . T his i s p e rhaps b e tt e r e x e mplifi e d i n t h e w o rks o f

H o lma n H u n t H e sp e n t i n fi n it e pa i n s I n g e tt in g t h e truth o f
.
314 I
H S TO R Y I
O F PA N T N GI
dra ftsma n a n d m o d e ll e r a rath e r frail c o l o rist a n d in b r ush
, ,

w o rk h e w a s la b o r e d a n d u n i q u e i n d ry n e ss H e w a s how e v e r
,
.
, ,

a m a n o f m u ch ima g in ati o n a n d his c o n c epti o n s th o u gh i ll u s

, ,

t ra t i v c o f l i t e rat u r e d o n o t s u ff e r th e r e by b e ca u s e his tr e at
,

m e n t did n o t sacrific e th e
artistic H e has b e e n th e
.

b u tt o f c on sid e rabl e S hall o w

la u gh t e r fr o m tim e to tim e ,

lik e ma n y a n o th e r m a n o f
ab ility W
. e (1 8 4 0

a grac e f ul pai n t e r o f
“

a d e c o rativ e id e al t y p e ,

rath e r fo ll o w e d th e R o ss e tti
B u r n e J o n e s e xampl e a n d is
-
,

a n ill u strati o n o f t h e i n flu

e n c e o f p r e R apha e litism as
—
,

a r e als o L e w i s (1 8 0 5 1 8 7 6 )
-

a n d J o h n B r e tt (1 8 3 2 1 9 0 2 )
—

LATER FI G URE A N D PO R
TRA I T PA I N TE R S Th e in "

flu e n ce of p e R
r -
apha e litism
h ad alm o st di e d o u t i n 1 8 7 5 .

T o it th e r e s u cc e e d e d a cos
m op oli ta n ism p icking
—
a

and ch oo si n g o f what e v e r
w a s b e st i n mod e r n art with
a l e a n i n g a n d a liki n g fo r
F r e n ch m e t h o ds "T his was .

n o t mark e d with t h e O ld e r

m e n but t o ward th e e n d o f
th e c e n t u ry th e y o u n g e r
m e n sh o w e d it .S i r F r e d e r i c k L e i g ht on (1 8 3 0 d u ri n g
h is l if e was ra n k e d as a fin e acad e mic draf tsma n but n o t a
, ,

m a n with th e c o l o r s e n s e o r th e b r u sh m a n s q u ality i n h is
’
-
 BR T S H I I PAI NT N G I 31 5

work .
M (
1 81 8 —
1 9 4
0 ) was p e rh aps a l abo r e d t e c hn icia n ,

an d in c o l o r was O ft e n s o mb r e ; but h e was a m an o f m u ch

imagi n ati on o ccasion ally r o s e t o g r a n d e ur i n c on c epti on an d
, ,

pain t e d s om e sup e rb p o r traits n o tably th e o n e o f W al t e r ,

C r an e S om e of h is e arli e r w o r ks are a l m o st Ve n e tia n i n th e i r

.

d e co r ativ e quality O rch ar d s on (1 8 3 5 1 9 1 0) was m o r e o f a

.
—

pai n t e r pur e an d sim pl e t h a n W atts an d a n e xc e ll e n t if m an

, ,

n e r e d c o l o r ist H e was a S c o tc h ma n w h o did hi st o rica l figur e

.

pi e c e s an d p o rt r aits I n p o rt r aitur e H o ll (1 84 5 1 88 8) had

.
—

a f o r c e ful m e th o d o f p r e s e n tation a n d at th e p r e se n t tim e

W illi am O r p e n a n Irish ma n is d e cid e dly th e l e ad e r am o n g
, ,

th e y o un g e r m e n T h e r e ar e a n umb e r o f o ld e r p o rt r ait
.

pai n t e rs H e r k om e r O n l e s s S ir G e o rg e R e i d w h o hav e
—
,
—
,

d on e e xc e l l e n t w o r k .

LA N D S CAPE A ND M ARI NE PA I N TE R S " I n th e d epa r t

m en t o f la n dscap e t h e r e are also ma n y pai n t e rs i n E n gla n d o f
c on t e mp o ra r y im po r tan c e Vi ca t C o l e (1 8 33 1 8 93 ) h ad con
.
—

sid e r ab le e xagg e r at e d r e putati o n as a d e pict e r o f su n s e ts a n d

twilights ; C e cil L aw son (1 8 5 1 1 8 8 2 ) gav e pr omis e o f gr e at -

acc omplis hm en t an d liv e d l on g e n o ug h t o do s om e e xc e ll e n t

,

w o rk i n th e sty l e o f th e F r en c h R o usse au min gl e d wit h an ,

i nfl u en c e from G ain sb or ough ; A lf r e d P ar s on s was a littl e ha r d

a n d pr e cis e in h is w o rk ; S i r Alf r e d E a s t was m o r e p o e tic a n d

p e rh aps mo r e e ff e ctiv e ; w h il e E d w ar d S tott a n d J R R e id . .

h av e giv e n in dividual i n t e rpr e tati on s o f n at u r e of much ch a rm .

I n mar in e s H ook (1 8 1 9 1 9 0 7 ) b e lo n g e d to th e old e r sch ool

—
,

a n d was n o t e n t i r e ly satisfact o ry T h e b e st se a pain t e r in .

-

E n gla n d was H e n ry M o o r e (1 83 1 a m an w h o pain t e d

w ell an d gav e th e larg e f ee li n g O f th e oc e a n with fin e c o l o r
q ualiti e s A ft e r h im sh ould b e m en tio n e d N api e r (H e nry) f
.

W L W ylli e E d win H ay e s S o m e co n t e mporary pai n t e r s

. .
, .

t h at d e fy classificati on sh o uld b e n o t e d h e r e F ran k B r an g

wyn a d e co r ativ e pai n t e r of mark e d disti n ctio n a n d J M
, ,
. .

S w an a n e xc e ll e n t pai n t e r o f a n ima l s
, .
3 6
1 I
H S TO R Y O F PA N T N G I I
NEW L YN S CH O O La sch oo l i n th e st r ict
" T his w a s not

s e n s e o f t h e w o rd so m u ch as a n ass o ciati o n o f you n g m e n i n

a c o l o ny o n th e C o r n is h c o ast T h e r e was o f c o u rs e so m e .
, ,

similar i ty o f vi e w a n d m e tho d am o n g t h e m with pl e n ty o f r oom

l e ft fo r i n div id u al e xpr e ssi o n S tan h op e Fo r b e s w as th e r e al .

l e ad e r a n d am o ng o th e rs w h o b el o n g e d to it w e r e F ran k Br am le y ,

N o rman G a rs ti n H S T u k e a n d T C G o t c h
,
. .
, . . .

S C O TTI S H S CH O O L " A gr o up
of pa i n t e rs at G lasgo w so m e y e ars
a g o rapidl y d e v e l o p e d i n to what is

k n o w n as a S c o ttis h S ch oo l T h ey .

w e r e al l m o r e o r l e ss i n flu e n c e d at
first by th e F r e n ch r oma n ticists an d
t h e Fo n t a i n e ble a u B arbi zo n pai n t e rs -

a n d lat e r o n e sp e cial l y t h e y o u n g e r ,

m en f e ll u n d e r th e i nfl u e n c e o f ,

W il li am M cTag g ar t a n d W h i s tl e r .

S o m e o f th e m e n w h o h av e w o n
d i sti n ct s u cc e ss in that sch oo l a r e
E A W a lt on S i r J am e s G u thr i e . ; , ,

G e o rg e H e n r y E d w a r d H orme l J oh n , ,

L av e ry J o s e ph C r aw h a ll A l e xa n d e r , ,

R oc h e J oh n L aw s on A M cBri d e , ,
.
,

Th o ma s M o rt on H e n ry S pe n ce , ,

J am e s Pa te r s on J am e s H am il t on , ,

D Y C am e r o n A rth u r M e lvi ll e . .
, .

FI G 1wm 43 L -
. sM O D E RN O VE M O VE M E N TS A ND
D
. . .

A ND E A TH
M E N " T h e c o sm op o lita n t e n d e n cy
'

of m o d e r n E ng lish art g oe s littl e farth e r tha n Paris M a n y .

o f th e pa i n t e r s hav e acc e pt e d t h e m e th o ds o f m e n like

C o r o t M a n e t o r M o n e t a n d c o mbi n e d Fr e n c h
, ,

t e ch n iq u e with n ativ e vi e w a n d f e e li ng Fo r s om e y e ars th e .

w o r k s o f th e s e m e n P W S t e e r A rth ur H a ck e r C W
—
. .
, , . .

Fur s e M ar k Fi sh e r S J S o l o m o n W al t e r S i c k e rt J R
, , . .
, ,
. .
 C H A PTE R XX I I
I
A M E R CA N PA N T N G I I
BO O K S R E C O MM E N D E D " A mer i ca n A r t Revi ew; A m o y , r
f
L i e of C opley; Th e A r t Revi ew ; B alch , A r t i n A me r i ca be or e f
th e Revolu ti on ; C a ffI n , A mer i ca n M aster s of P a i n ti n g; C l e m e n t
u
a n d H tt o n , A r ti s ts of th e N i n eteen th C e n tu r y; C o ld e n , L i e of f
Fu lton; C o r ti ssoz , J oh n L a Fa rge; C o x, A r ti s t a n d P u bli c; W i ns
low H ome r ; C ummi n gs , H i stor i c A n n a ls of th e N a ti on a l A cad emy
of D es i gn ; D o w n e s , B oston P a i n ter s (i n A tla n ti c M on th ly , Vol .

D u n lap , A r ts of D esi gn i n Un i ted S ta tes; D ura n d , L ife a nd

Ti mes of A B D u r a nd; D ur e t , W hi stler; Flagg , Li e a nd L et
. . f
h
te r s of W as hi ngton A llston; F r e n c , A r t a nd A r ti sts of C on n ecti
cu t; f
G alt , L i e of W est; H e aly , Remi n i sce n ces of a P ortr a i t
P a i nter ; Isham , H i stor y of A m er i ca n P ai n ti n g; K i n g , A mer i ca n
l
M u r a l P a i n ti ng; Kn o w to n , W M H u nt; L e st e r , Th e A r ti sts
. .

of A m e r i ca ; L o w , A P a i n ter s P r ogr ess; M aso n , L ife a nd W or k s

’

of G i lbe r t S tu a r t; M ath e r , H omer M a r ti n ; M e y n e ll , J oh n S .

S a rgen t; M ors e , L etter s a nd J ou r n als of S F B M or se; Pe nn e ll ,

. . .

f
L i e of W hi stler ; Pe rki n s , C opley; S h e ldo n , A mer i ca n P a i n ter s,
r
Recen t I dea ls of A m er i ca n A r t; T umbl e , George I n n ess; T rum
bull , A u tobi ogr a phy a nd L etter s; T uck e rma n , B ook of th e A r ti sts;
r
Va n D yk e , A r t f or A r t s S a k e; Va n R e n ss e la e , S i x P or tr a i ts;
’

Ve dd e r , D i gr essi on s of V ; W a e rn , J oh n L a F o rge; W a e , L ec
. r
h
tu r es on A lls ton ; W it e , A S k etch of C h ester A H a rdi ng . .

I
A M E R C A N AR T " It is h ardly p o ssibl e to p r e dicat e muc h
about th e e n vi ro n m e n t as it aff e cts a r t i n A m e rica T h e .

r e s u lt of th e climat e th e t e mp e ram e n t a n d th e mixtur e o f

, ,

n ati o n s i n th e pr o ducti o n o r n o n pr o ductio n o f pai n ti n g i n

-

A m e rica ca n n o t b e accurat e ly c o mput e d at this e arly stag e

o f hist o ry .O n e thi n g o n ly is c e rtai n a n d that is that t h e
, ,

buildi ng o f a n e w c o mm o n w e alth o u t o f prim e val n atur e d o e s

 I
AM E R CA N PA N T N G I I 31 9

no t ca ll for th e p ro ductio n o f art in th e e ar l y p e r io ds of

de v e l opm en t .

Th e fir st c en tur i e s i n th e h ist o ry of A m e r ica w e r e d e vot e d

t o s e curi n g th e n e c e ssiti e s of lif e th e e n e rgi e s o f th e tim e w e r e
,

of a practical n atu r e an d a r t as an i n di g e n o us pr o duct was

,

h a r dl y k n own A ft e r th e R e vo luti on an d in d e e d b e fo re it
.
, ,

a hyb r id po r t r aitu r e l arg e ly bor r ow e d from E n glan d b ega n

, ,

t o app e a r a n d aft e r 1 8 2 5 t h e r e was a n att e mpt at la n dscap e

,

wo r k " but pai n tin g as an art wo rt h y o f v e ry s e r i o us co n sid

e ra t i on cam e i n o n l y wit h t h e sudd e n gr o w th i n w e a l t h a n d
'

tast e foll owin g th e W ar of th e R eb e ll i on a n d th e C e n t en n ia l

E xhibiti o n o f 1 8 7 6 T h e b e st of A m e r ica n art dat e s aft e r
.

1 8 78 ,
t h oug h dur in g th e e arli e r y e ars t h e r e w e r e pa in t e r s of
n o t e w h o ca nn o t b e pass e d o v e r un m e n ti o n e d .

TH E E ARL Y PA I N TE R S " Th e or t h e m an w h o
“ ”
lirn n er ,

coul d dr aw an d c o l o r a p o r trait s e e ms to h av e e xist e d v e ry

,

e arly i n A m e rica n h isto r y S mi b e r t (1 6 84

. a S co tc h
pa in t e r who s e ttl e d in Bosto n W a tson (1 6 8 5 P
, ,
a n o th e r
S c o tc hma n w h o s e ttl e d in N ew J e r s e y Bl ac k b u rn (1 7 00 ?
, ,

1 76 w h o was at Bo st on for fift e e n y e a r s w e r e of t h is c l ass ,

m e n capabl e of givin g a l i k e n e ss a n d a l itt l e mor e ,

.

T h e y w e r e fo llow e d by E n glis h pain t e rs of e v e n l e ss con se

n T h n cam e C op l e y (1 7 3 7 1 8 1 5 ) a n d W e s t (1 7 3 8
-

q u e ce. e

wit h w h o m pain tin g i n Am e rica r e ally b ega n Th e y .

w e r e goo d m en fo r t h e i r tim e but it must b e bor n e in min d

,

t h at th e tim e s for art w e r e n o t at al l fav o r ab l e W e st was a .

m a n ab o ut wh om ma n y in fa n t pr odi gy ta l e s h av e b ee n to l d
-
,

but h e n e v e r gr e w to b e a gr e at artist H e was ambiti o us .

b ey on d his p ow e r in d ulg e d i n th e atrica l c omp o sitio n was

, ,

h o t in co l o r a n d n e ve r was at e as e i n h a n dl in g th e b rus h
,
.

M ost of h is lif e was pass e d i n E n g l a n d wh e r e h e had a vogu e , ,

was e l e ct e d Pr e sid e n t o f th e R oya l A cad e my a n d b e cam e ,

practical l y a B ritish pai n t e r C opl ey p e r h aps was mo r e

.

A m e r ica n t h a n W e st an d mo r e of a pai n t e r th o ug h h e too

, , ,
 2
3 0 I
H STO R Y O F PA N T N G I I
pass ed m o st o f his life i n E n gla n d a n d is u sually r e gard e d as
a n E n g l i s h pai n t e r S om e o f his p o rtraits a r e e xc e pti o n ally
.

fin e a n d his fig u r e p ie c e s s u ch as C harl e s I D e ma n di n g t h e
, ,

Fiv e M e m b e r s o f H o u s e o f C o mm o n s a r e e xc e l l e n t i n c o l o r a n d
,

c omp o siti o n T h e N ati o n a l G all e ry L o n d o n p o ss e sse s g ood

.
, ,

FIG 1 44
-
CO PL Y L DY W W
E A E NT O RTH NE W Y K OR

P UBL L B Y
. . . .

IC I RA R .

e xampl e s o f his la rg e r ca n vas e s C W P e a l e (1 74 1 . . .

a p u p il o f b o th C opl e y a n d W e st was p e rh aps m o r e f o rtu n at e

,

i n havi n g c e l e brat e d charact e rs l ik e W ashi n gt o n fo r sitt e rs

tha n in his art T e ch n ically h e was hard dry a n d m e cha n ical
.
, , ,

as w e r e al so M atth e w P ratt (1 73 4 R o b e rt Pi n e (1 7 4 2
J o s e p h W r i g ht (1 7 5 6 R a l ph E ar l e (1 75 1
3 2 2 I
H S TO R Y O F PA NT N G I I
to obs e rv e th e pict o r ial c h aract e r of th e wo r l d about h im .

A s a r e s u lt o f th i s a n d p oo r artistic t r ai n i n g his art h ad too

, ,

littl e basis i n n atur e a n d too littl e skill in r ep re sen tatio n .

R e m b ran d t P e a l e (1 7 8 7 l i k e his fath e r was a pain t e r of ,

FI G 1 45 H AR D G
IN JO H N RA N D LP
O H O F R O A NO K
E C O RC O RA N
G LL Y W G
. . . .

A ER , A SHIN TO N .

W ashi ngt o n p o rt r aits of r at h e r m e di o c re q uality W ald o .

(1 7 8 3 w h o work e d i n collabo r ati o n wit h J e w e tt (1 79 5

was littl e b e tt e r but S F B M or s e (1 79 1 1 8 7 2 ) gav e

,
. . .
—

disti n ct pro mis e i n p o r t r aitu r e an d r e ally did som e e xc eption a l

wo r k suc h as th e L a Fay e tt e in th e N ew Y o r k C ity H all .
 AM E R C A N PA NT N G I I I 2
3 3

J ar vi s (1 7 8 0 -
1 834) an d w e r e bot h B ritish
S ully (1 7 8 3 —
1 872)
b o rn but t h e i r wo r k b el on gs h e r e i n A m e r ica w h e r e most of
, ,

th e i r days w e r e sp e n t S u l ly co ul d pai n t a v e ry g oo d port r ai t

.

o ccasi o n ally t h o ug h h e a l ways in cli n e d t o ward t h e w e ak a n d

,

t h e s e n tim e n tal e sp e ciall y i n his p o r traits of w o m e n

, In .

this h e was in flu e n c e d t o his in jury p e rhaps by th e wo r k o f

, ,

S i r T h o mas L awr e n c e L e s li e (1 7 9 4 1 8 5 9 ) a n d N e w ton

.
—

( 79 5
1
—
1 8 35 ) w e r e A m e r ica n s but lik e W e st an d C op l ey t h e y
, , ,

b e l o n g in th e i r a r t m o r e t o E n gla n d than t o A m e rica I n all .

t h e e a r ly A m e r ica n pain ti n g t h e B ritish i n flu e n c e may b e

‘

t r ac e d w it h som e tim e s an in c l i n ati on to f oll o w I ta ly in l a rg e

comp o siti on s .

TH E M ID D LE PE RI O D i n A m e rica n art dat e s fr o m 1 8 2 5

t o ab o ut 1 8 7 8 D urin g t h at tim e s om e th i n g disti n ct l y A m e r

.
,

ica n b e gan to app e a r in th e lan dscap e w o rk of D ou g h ty (1 7 9 3

1 8 5 6 ) a n d Th om as C o l e (1 8 0 1 Bo t h m en w e re s u b
s t a n t i ally s e l f taug h t
-
th o ugh C o l e r e c e iv e d s om e in st ru cti on
,

f r om a po r trait pai n t e r n am e d S t e i n C ol e du r in g h is lif e .

was fam o u s for hi s Hudso n R iv e r l a n dscap e s an d for two s e ri e s ,

o f pictur e s call e d T h e Voyag e o f L if e a n d T h e C o u r s e o f E mpir e .

Th e l att e r w e r e r e ally e pic p oe ms up o n ca n vas d o n e wit h muc h ,

bla r e o f col o r a n d lit e r ary e xplan ati on in th e titl e His chi e f .

w o rk was in pu r e l an dscap e whi ch h e pict u r e d wit h c o n sid e r ,

abl e acc ur acy in drawin g th o u gh it was faul ty in ligh ti n g an d

,

gaudy in c o l o rin g Br ill ia n t autum n sc e n e s w e r e his fav o rit e

.

s u bj e cts His wo r k h ad th e m e rit o f orig in ality a n d m o r e

.
,

ov e r it must b e r e m emb e r e d that C ol e was o n e o f th e b e gi nn e rs

,

i n A m e rica n la n dscap e art D u ra n d (1 7 9 6 1 8 8 6 ) was a n

.
-

e n g r av e r u n til 1 8 3 5 wh e n h e b e ga n pai n ti n g p o rtraits an d

, ,

aft e rwa r d d e v e l op e d l a n dscap e wit h c o n sid e rabl e p ow e r H e .

was usual l y simpl e in subj e ct a n d r e alistic i n tr e atm e n t wit h ,

n o t so muc h i n sist e n c e up o n brillia n t c o l o r as som e o f his

c on t e mporari e s S om e o f h is po r traits a r e o f e xc epti o n a l

.

e xc e l l e n c e. K e n s e tt (1 8 1 8 1 8 7 2 ) w as a f o ll o w e r i n la n dscap e
-
 24 I
H STO R Y I
O F PA NT N G I
of th e s o -
call e d Hudso n R iv e r S cho o l o f C ol e a n d ot h e rs t h ough ,

h e s t u di e d s e v e n y e ars i n E u r op e His c o lor was r at h e r warm

.
,

his air ha zy a n d th e g e n e r al e ff e ct o f h is la n dscap e t h at of a

,

FI G . 1 46 . J A RVI S . H E NR Y LY
C A . CI TY LL HA ,
NE W YO RK .

d r e amy a u t u m n day with p oe tic sugg e stio n s F E C hur c h . . .

(1 8 2 6 1 9 00 ) w a s a p u pil o f C o l e a n d f o ll ow e d him i n s ee k
-

i n g th e g ra n d i n m o u n tai n sc e n e ry W ith C h ur ch sh ou ld .

b e m e n ti o n e d a n u m b e r o f artists C a s il e ar (1 8 1 1
" '

H u b b ar d (1 8 1 7 H i ll (1 8 2 9 B i e r s t a d t (1 8 3 0
3 2 6 I
H S TO R Y I
O F PA N T N GI
He was a pupil o f L e ssi ng at D u ss e ld o rf a n d h ad s o m e t h i ng ,

t o d o with i n tr o d u c i n g D ii sse ld o r f m e th o ds i n t o A m e rica .

H e w a s a pai n t e r o f ab il i ty if at tim e s h o t i n c o l o r a n d dry in

,

ha n dli ng O ccasi o n ally h e did a fin e p o rt r ait lik e th e S e ward

.
,

i n t h e U n i o n L e ag u e C l u b N e w Y o rk ,
.

D u ri ng this p e ri o d i n additi o n to th e i n flu e n c e O f D uss e l

,

d o rf a n d R o m e up o n A m e r ica n art th e r e cam e th e i n fl u e n c e ,

o f F r e n c h a r t with H i c k s

(1 8 2 3 —
1 8 9 0) an d H un t
both of ( 4
1 8 2

th e m p u pil s o f C out u r e
at Paris an d Hu n t also ,

of M ill e t at B arbizo n .

Hu n t w a s th e r e al in tro
du c e r o f M il l e t a n d t h e
Barbi zo n Fo n tai n ebl e au
artists to th e A m e rica n
p e o pl e I n 1 8 5 5 h e e stab .

li sh e d h i ms e lf at Bo st on ,

h ad a larg e n umb e r of
p upils an d m e t with gr e at ,

succ e ss as a t e ach e r H e .

w a s a pai n t e r of abil ity ,

b u t p e rhaps h is g r e at e st
FI G 1 DU47 L — P RA ND W Y K i n flu e n c e w as as a te ach e r
A ND S C A E NE OR
LB Y
. . . .

P U B LI C I RA R
a n d a n i n st r uct o r i n what
'
'

was g o o d art as d i sti n guish e d fr om what w as fals e a n d m e r e

trici o u s H e c e rtai n ly was am o n g th e first i n A m e rica t o
.

t e ach cath olicity o f tast e t r uth a n d si n c e rity i n a r t a n d a r t

, ,

i n t h e pai n t e r rath e r tha n i n th e s u bj e ct C o n t e mp o r ary .

with H u n t liv e d G e o rg e F u ll e r (1 8 2 2 a u n iqu e m a n

i n A m e rica n pa i n ti n g fo r t h e s e n tim e n t h e c o n v e y e d i n his
pict u r e s by m e a n s o f c ol o r a n d atm o sph e r e Th ough n e v e r .

p rofici e n t i n th e gramma r o f art h e ma n ag e d by bl e n di n gs

 AM E R CA N PA NT N G I I I 3 2 7

of c ol o r an d t on al r e lati on s t o s u gg e st c e rtai n s en tim en ts

r e gardi n g l ig h t a n d ai r t h at hav e b e e n rightly e st e e m e d
p o e tic.

TH E TH IR D PE RI O D i n A m e rica n pai n ti n g b e ga n i mm e di

at e ly aft e r th e C e n t e n n ia l E xhibiti on at Phil ad e lphia i n 1 8 7 6 .

U n do ubt e dl y th e display o f a r t b o th for e ig n a n d dom e stic, ,

at t h at tim e t og e t h e r wit h th e n ati on al pr o sp e rity a n d gr e at

,

gr owt h o f th e U ni t e d S tat e s had m u c h t o do with st im ul ati n g

,

activity i n pai n tin g M a n y y o un g m e n at th e b egin n in g of

.

this p e r i o d w e n t t o E ur op e t o st u dy i n th e stu di o s at M un ich ,

a n d lat e r o n at Pa r is B e f o r e 1 8 8 0 s o m e o f th e m had r e t u r n e d
.

to th e U ni t e d S tat e s bri n gi n g wit h th e m k n owl e dg e o f t h e

,

t e chn ica l S id e o f art which th e y imm e diat e ly b e ga n t o giv e o u t

,

t o ma n y p u pil s G rad u ally th e i n fl u e n c e o f th e y o u n g m e n

'

f r om M un ich a n d Paris spr e ad T h e A r t S t u d e n ts L e ag u e

.
’

fo un d e d in 1 8 7 5 w as i n c orp o rat e d in 1 8 7 8 a n d th e S o ci e ty
, ,

o f A m e rica n A r tists w as e stablish e d i n th e sam e y e a r .

S o ci e ti e s a n d pa in t e rs b e ga n t o spri n g up all o v e r th e c o u n try ,

a n d as a r e s u lt th e r e is i n t h e U n it e d S tat e s t o day a n artist -

b o dy t e ch n ically as w e ll train e d a n d i n sp I rI t as pr ogr e ssiv e

as i n alm o st an y co u n try O f E ur op e T h e lat e in fl u e n c e show n .

i n pai n ti n g has b e e n larg e ly a F r e n ch i n flu e n c e a n d t h e A m e r ,

ica n a r tists hav e b e e n acc u s e d fr o m t im e to tim e o f e ch oi n g

Fr e n ch m e t h o ds Th e accusati on is t r u e i n pa r t
. Paris is .

th e c e n t re o f al l art t e achi n g t o day a n d t h e A m e rica n s i n

- -
, ,

commo n with th e E urop e a n s acc ept F r e n ch m e thods n o t, ,

b e caus e th e y a r e F r e n ch b u t b e ca u s e th e y a r e th e b e st exta n t
,
.

I n subj e cts a n d m o tiv e s how e v e r th e A m e rica n sc h oo l is as

, ,

o rigi n al as a n y sch oo l c a n b e i n this c o sm op o lita n ag e .

I I
P O R TRA T, F G URE , A ND G E N RE -PA N TE R S I (1 8 7 8 4 91 5 )

It must n o t b e i n f e rr e d that t h e pai n t e rs pr omi n e n t i n

A m e rica n a r t aft e r 1 8 7 6 w e r e all yo u n g m e n sch oo l e d aft e r
t h at dat e O n th e c o n tra r y s om e o f t h e b e st o f th e m
.
,

w e r e me n past middl e lif e w h o b ega n pai n ti n g l o n g b e fo r e

3 2 8 I
H S TO R Y I
O F PA N T N G I
1 8 76 , by di n t o f o b s e rvati o n a n d pr o l o ng ed st u dy c o n ti n
and

u e d with t h e m o d e r n spirit Fo r e xampl e W i n s l ow H om e r .

,

( 3
1 8 6 1
—
9 1 0 ) was o n e o f t h e str o n g e st a n d m o st o rigi n al o f all

t h e A m e rica n artists a m a n w h o n e v e r had t h e adva n tag e o f

,

t h e high e st t e ch n ical trai n i n g y e t p o ss e ss e d a f e e li n g f or c o l o r

, ,

a dash a n d v e rv e i n e x e cuti o n a n o rigi n ality i n s u bj e ct a n d , ,

a n i n d ivid u ality o f c o n c e pti o n that a re u n s u rpass e d As a .

pai n t e r o f t h e sea h e h as n o sup e ri o r i n A m e rica n art E ast .

FI G . 1 48 .
— H O ME R . M A RI NE . PL
M E TR O O I TA N M U UM
SE , NE W Y K OR .

m an J o h n s on (1 8 2 4 -
1 ld e r p o rtrait a n d
9 0 6
’
) w as on e o f th e O

fig u r e pa in t e rs w h o st oo d am o n g th e y o u n g e r g e n e rat io n s
-

w i th o u t j o stli ng b e caus e h e had i n m e asur e k e pt hims e lf i n

,

f o rm e d with m o d e r n th o u ght a n d m e tho d H e was a g oo d .

,

c o n s e rvative pai n t e r p o ss e ss e d o f tast e j u dg m e n t a n d t e ch

, , ,

mical a b il i ty E li h u V e d d e r (1 8 3 6
. is m o r e o f a draughts
m a n tha n a br u shma n His c ol o r s e n s e is n o t ac u t e n o r his
.
-

h a n dli ng fr e e b u t h e has a n imag i n ati o n whi c h if so m e wh at

, ,

m o r e lit e rary tha n p ict o rial is n e v e rth e l e ss v e ry e ff e ctive ,

.

H e has liv e d i n R o m e fo r ma n y y e ars J o hn L a Fa rg e (1 8 3 5 .

3 3 0 I
H S TO R Y O F PA N T N G I I
B l um (1 8 5 7 1 90 3) was a fe w y e ars a go w e ll k n ow n to maga zi ne
—
, ,

r e ad e rs thr o u g h ma n y black a n d whit e il lustrati o n s H e was

- -
.

als o a pa i n t e r o f gen r e s u bj e cts tak e n from ma n y l a n ds an d ,

ha n dl e d with brillia n cy a n d fo rc e D e win g (1 8 5 1 is a pai n t e r

.

with a r e fi n e d s e n s e n o t o n ly i n f o r m but i n c o l o r His pictur e s .

a r e u s u ally small ,
but e xquisit e i n d e licacy a n d d e c o r ativ e
charm Thay e r (1 8 4 9 is fo n d o f l arg e ca n vas e s a m a n of
.
,

e ar n e st n e ss si n c e rity a n d imagi n atio n but n o t a cl e a n cut

, , ,
-

draftsman n o t a p r ofoun d c ol o r ist a n d a rat h e r h e avy

, ,

FI G . 1 49
— I NNE S S
. . L D P
AN S CA E .

br u shma n H e h as h ow e v e r s o m e t h i n g to say an d in a
.
, , ,

larg e s e n s e is a n artist o f u n c o mm o n ability K e n yon C ox .

(1 8 5 6 is a draftsma n with a l i ki n g fo r l i n e a n d f o rma l

,

c omp o s i t io n aft e r th e ma n n e r o f th e Ve n e tia n s a n d t h e s e h e

, ,

h a s r e c e n tly e mpl oy e d to g oo d p u rp o s e i n ma n y l a r g e mur al

d e c o rat io n s H e is a writ e r o n art as w e l l as a pai n t e r an d
.

h as mark e d ab il i ty i n b o th fi e lds .

T h e n u mb e r o f g o o d p o rt r ait pai n t e rs at p r e s e n t wo r ki n g
-

i n A m e rica is v e ry lar g e a n d m e n ti o n can b e mad e of but a

,

fe w i n a dditi o n t o t h os e alr e ady spok e n of Al e xan d e r B e ck .

,
 I
A M E R CA N PA NT N G I I 3 1

wi th , Lock wood , B e n s on , W il e s , S m e dl e y , C e ci li a B e au x,
Vi n ton , E ak i n s , C olli n s , W e i r, h av e all h ad th e adva n tag e o f
fo r e ig nstudy an d ar e v e r y w e ll e q uipp e d t e ch n i c all y E ac h .

on e h as h is p o i n t of vi e w a n d i n t e r pr e ts i n his o w n way In .

figu r e an d gen r e pain t ing th e l ist of r e ally g o od pai n t e rs coul d

-

b e d r aw n ou t a l most i n d e fi n it e ly a n d agai n m e n ti o n must ,

b e c o n fi n e d to a fe w o nl y D u ve n e c k E a ton D e C am p
, , , ,

S h i rlaw , Bru sh , H a s s a m , M e tc alf , H e nri , Ta b e ll , K e n d all r .

In re cen t y e a r s buildin g o f mun icipal stat e an d n ati on al

th e , ,

buildi n gs an d th e g r owt h o f e ducation al i n stituti o n s h as c a ll e d

fo r th e s ervic e s of mu r al pai n t e r s Th e wan t h as b ee n w ell .

suppli e d by a n umb e r o f pain t e r s th e most pr o min e n t o f w h om ,

a re Bla sh fi e ld , S im m on s , M ow b r ay R e id M ill e t L ow C Y , , , , .

Tu rn e r .Th is fi e l d h as t ak e n on l a r g e pr op or ti on s a n d o ff e r s
r a re oppo r tun ity fo r n ew de v e lopm e n t .

M ost of th e m en w h os e n am e s a r e giv e n ab o v e ar e re sid e n t

'

in A m e r i ca ; but i n additi on t h e r e is a la rg e c o n t in g e n t of
, ,

m e n A m e r ica n bo rn but r e sid e n t ab r o ad w h o c a n h a r dl y

, ,

b e c l a im e d by th e A m e r ica n sc h oo l an d y e t b e l on g t o it ,

as muc h as to a ny sch ool T h e y are co sm op ol itan in th e i r

.

a r t a n d r e sid e i n Pa r is M u n ich L o n d o n or e ls e wh e r e as th e
, , , , ,

spi r i t mov e s t h e m S a rg en t th e p o r trait pai n t e r b e l o ngs to

.
,
-
,

t h is g r oup as did also W h i s tle r (1 8 34

,
o n e o f t h e m o st

a r tistic o f al l th e mod e rn s W histl e r th o ug h l on g r e sid en t

.
,

i n L on d on a n d Paris o w e d al l e gia n c e t o n o sc h oo l a n d such

, ,

a r t as h e pr o duc e d was p e cul ia rly h is ow n sav e a l e av e n o f ,

i n flu en c e s fr o m C ou rb e t Ve las q u ez an d th e J apa n e s e His

, ,
.

a r t is th e p e rfe ctio n o f d e l icacy bot h in co l o r an d in li n e It

,
.

h as th e picto rial ch a r m of myst e ry an d sugg e stiv en e ss a n d ,

t h e t e c h n ica l e ff e ct o f lig h t ai r a n d spac e

,
T h e r e is n o thi n g
,
.

b e tt e r p roduc e d in m o d e r n pain ti n g but muc h v e ry lik e it is ,

p ro duc e d by fol l ow e r s a n d im itat o r s N o pai n t e r of r e c e n t .

y e a r s h as h ad so muc h i n flu en c e on co n t emp o rary pai n ti n g as

W hist l e r E A A b b ey (1 8 5 2
. . . as w e ll kn ow n by his
 33 2 I
H S TO R Y I
O F PA NT N G I
p e n -
a n d -
i wo rk as by his pai n ti n gs J J S h an n on a n d
nk ,
. .

M c L u r e H a m il t on t h e p o rtrait pa i n t e rs with M a r k Fi s h e r , ,

a re A m e rica n b o r n b u t hav e liv e d lo n g i n L o n d o n a n d a r e

id e n tifi e d wi th E nglis h art .

I n Paris a n d e ls e wh e r e th e r e a r e ma n y A m e rica n b o r n -

pa in t e r s w h o agai n b e l o n g wit h t h e Fr e n ch sch oo l as much

,

as th e A m e rica n Bri d g .

m an is a n e xampl e a n d ,

D ann a t A l e xan d e r H a rri ,

son H i t c h c o c k M cE w e n , , ,

M e l ch e r s P e ar c e J u li u s , ,

S t e w a rt J uli a n S tory , ,

M a ry C a s s a tt W e ek s ,

(1 84 9 W a l t e r G ay ,

h av e n othi n g disti n ctly

A m e rica n ab o u t th e ir a r t .

It is s emi c o sm opolita n -

wit h a l e a n i n g t oward
Fr e n c h m e th o ds .

LA N D S CA PE A ND
M ARINE PA I N TE R S
(1 8 7 8 I n th e de
of la n dscap e p a r t m e n t
pai n ti n g A m e rica has h ad
FI G 5
.
— 1 0G . M M
S A R E NT .
si
RS
n
.
c e 1 8 2
IA N H A5 s o m e
IL TO N
thi.
n g dis
t in c tly n ati o n a l a n d h as ,

at th is day I n r e c e n t y e a r s th e imp r e ssi o n ist plei n a i r sc hoo l

.
-

o f Fra n c e has i n flu e n c e d ma ny pai n t e rs a n d t h e p r ismatic la n d ,

scap e is q u it e as fr e q u e n tly s e e n i n A m e rica n e x h ibiti on s as i n

th e Paris S al o n s B e sid e s this a n d st ill mor e r e c e n t l y th e i n
.
, ,

flu e n c e o f W histl e r s w o rk has sh ow n i n la n dscap e as w e l l as

’

i n p o rtrait a n d figur e pi e c e Bu t A m e rica n la n dscap e art

.

r ath e r dat e s ah e ad o f Fr e n ch impr e ssi o n ism o r W h istl e rism .

T h e str o ng e st la ndscap i st o f o u r t im e s G e o rg e I nn e s s (1 8 2 5 ,
334 I
H S TO R Y I
O F PA N T N G I
A m e rica n la n dscap e pai n t e rs H e d e sc e n d e d from th e old
.

H u ds o n R iv e r S ch ool but o u tg r e w it w e n t b eyo n d it b e cam e

‘
, , ,

o n e o f t h e n o tabl e m e n i n A m e rica n art S w ai n G iff o r d .

(1 8 4 0 S am u e l
C o lm a n G ay S h u r tl e fi , ,

( 3 8 8 9 5 ) hav e all do n e
-
1 1 1

e xc e l l e n t w o rk u n in flu
e n c e d by for e ig n sch oo ls

of to day H om e r M ar -
.

ti n s (1 8 3 6 1 8 9 7 ) la n d
’ —

scap e s f rom th ei r br e adt h ,

of tr e atm e n t a re p op u ,

l a rly c o n sid e r e d rat h e r

i n di ff e r e n t w o rk but i n ,

r e al ity t h ey a r e e xc e l l e n t
i n co l o r a n d p o e tic f e e lin g .

“
Th e young m en ”

again in la n dscap e as i n ,

t h e figur e a r e w o rki n g ,

i n th e m o d e r n spi r it ,

t h ough in substa n c e th ey
a re bas e d o n th e tra
d i tio n s o f th e O ld e r A m
e r i c a n l a n dscap e sc h oo l .

T h e r e h as b e e n muc h
ac h i e v em en t wit h suc h
la n dscapists as Try on ,

P la tt M u r p h y D e a rth , , ,

C ran e D ew ey C offi n , , ,

FI G .
5 1 2 . Y U G W
— H E N RI . BL
O K N H o rat i
O MA N I N o W a l k
ACe r.
M e tc al f , y

P al m e r B la k e l ock R a n g , ,

er ,
L aw s on Bi r g e H arr i s on B e n Fo st e r O c th m an W L
, , , ,
. .

L a th r O p R e d fi e 1d
,
A m o n g th o s e w h o fav o r t h e so call e d im
.
-

r e ssi o n is t i c vi e w a r e Tw a ch tm an (1 8 5 3 R o b i n son (1 8 5 2
p
 A M E R C A N PA N T N G I I I 33 5

W e ir , l a n dscap e pai n t e r s of u nden iabl e

an d H a s sam , —

p o w e r I n marin e s G e d n e y Bu n c e h as p ortray e d man y Ve n e

.

tia n lag oo n sc en e s o f cha rmi n g color t on e W i n s l ow H om e r h as -

,

giv en th e p ow e r of th e sea as n o o n e e ls e an d ot h e r pai n t e rs ,

suc h as M ayn ar d Ko st S n e ll R e h n B u tl e r Ch apm an , , , , , ,

W oo d b e rry D ou g h e r ty E m il C ar l s e n W a ug h hav e mad e

, , , ,

e xc e ll e n t r e c o rds o f its vari o us app e a r a n c e s .

It is imp o ssibl e t o mak e n o t e h e r e o f th e w o rk o f th e n e w e st

a r rival s i n pain ti n g or t o k e ep pac e wit h th e m ov e m en ts
”

t h at S O swiftly c om e an d go " b u t th e n am e s may b e m en ti on e d

o f s o m e o f th e mod e r n s w h o hav e a tt ract e d r e c e n t att e n ti o n

J on a s Li e A r th u r B D avi e s C C C o op e r G e org e B L u k s
, .
, . .
, .
,

J oh n S loan W illi am G lack e n s J e r om e M y e r s E ve r e tt S h inn

, , , ,

G e org e B e llow s , G ar dn e r S ym on s , W . E lm e r S ch ofi e ld , J e an
M cLan e .

E XTA N T W O RKS " a rly A m ri a pa i t r s Th e w r ks o of th e e e c n n e

a re t b s o p ri i pa lly i t h B s t M us um f Fi A rt s t h
e een nc n e o on e o ne ,
e

A th w m M ass H i t 8
en u ,
H a r va r d C ll g . R dw d L i b r a ry
s . 00 ,
o e e, e oo ,

N wp rt M tr p l i t a
e o ,
M N w Y rk
e o d H ist S
o Li b ra ri s
n us .
,
e o an . oc . e ,

th C i ty H a ll C t u r y C l u b C h am b r f C mm r
e ,
en N a ti al A a d ,
e o o e ce , on c .

of D sig e N Y I n, N w H av . a t Y a l S h l f Fi A rt s i
. n e en , e c oo o ne ,
n

Ph i l a d l p h i a a t P a A a d f Fi A rt s i R h s t r P w ’
e en n . c . o ne ,
n oc e e o er s s

A t G l i
r . W as h i g t
a .
, C r ra
n G l d th C ap i t l
n on o co n a . an e o .

T h wor ks f t h l i v i g m
e os i t h x h i bi ti s h l d fr m
e n en are een n e e on e o

y ar t
e y ar at th
o A a d my
e f D s ig N Y i e Ph i l a d l p h i a
c e o e n, . .
,
n e ,

C h i ag c B st o, Pi tt s b u r g h S t L ui s
o on , d l s w h r t h r ug h u t t h ,
. o ,
an e e e e o o e

co u try S m f t h i r w r ks b l g t p r ma t i s ti t uti s l i k
n . o e o e o e on o e n en n on e

th e M tr p l i t a M
e o th Po s y l va i a A a d t h A t I s t i tut
n us .
,
e enn n c .
,
e r n e

of C h i ag b t th r i
c o, pub l i ll ti
u f p i tu r s t h a t
e e s
p no c co ec on o c e re re

s t s A m ri a A t as a w h l w i th t h p ss ib l x p ti
en e c n r f th o e, e o e e ce on o e

C r ra
o co G a ll r y a t W as h i g t
n d th
e S mith s ia I s t i tut i n on an e on n n on ,

Wh r e e r t g i ft s b y M Fr r d M E va s h av ma d
ecen x
r . ee an r . n e e an e

c e ll e n t b eg i n n i ng .
 PO S T S C R I PT

I I
RE C E N T PA N T N G I N A US TR A H UN GA RY , R I —
US S I A
A ND I
S CA N D N A V A I
B O O K S R E C O M ME N DE D " B oy ese n , N orw egi a n P a i n ter s (i n
B ulgak o v , O u r " Ru ssi a n ] A r ti sts;
’
S cr i bn cr s D ec , ,
.

D e vi e n n e , L es A r ti stes du N ord a u S a lon de 1 8 7 4 ; H o lm e ,

u
A r t R evi va l i n A u str i a ; M th e r , H i story of M oder n P a i n ti ng;
Va n D yk e , P a i n ti ng a t th e Fa i r (C en tu r y M agazi n e , J u ly ,
W e i tem e y e r , D an em a r k , Gesch i ch te u nd B esch r ei bu ng
‘

T h e b oo ks o n th e s e scatt e ri n g sch oo ls a r e f e w a n d i n la n guag e s

n o t r e adabl e by th e av e rag e p e rs o n T h e mai n i n f o rmati o n
.

u
m st b e d e rive d fr o m j o ur n als lik e th e Gazette des B ea ux A r ts
or l o ca l p u blicati on s .

I
PA N T N G I EAS T A ND t h is bri e f h isto ry of
W ES T" In
pai n ti ng i t has b e e n n e c e ssary to o mit s om e c o un tri e s a n d
s o m e pai n t e rs that hav e n o t s ee m e d to b e dir e ctly c o n n e ct e d
with th e pr ogr e ss o r d e v e l opm e n t O f pai n ti n g in th e w e st e rn
w o rld T h e arts o f I n dia Pe rs i a C hi n a a n d J apa n wh il e
.
, , , ,

w e l l w o rthy o f car e f u l chr o n icli n g a re s o m ewhat r e m o v e d

,

fr o m t h e arts o f th e o th e r n ati o n s a n d f ro m o u r study Po rtu .

gal has had so m e hist o ry i n th e art o f pai n ti n g b u t it is S ligh t ,

a n d so b o u n d u p wit h S pa n ish a n d Fl e mish i n fl u e n c e s t h a t

its m e n do n o t sta n d o u t as a disti n ct sch ool T his is tr u e .

i n m e asur e O f pict o ria l art i n th e B alka n S tat e s or i n th e

w e st e r n r ep ub lics o f M e xic o C e n tral A m e rica a n d S o u t h
, ,

A m e rica M o d e r n pai n ti n g i n th e s e c o u n t r i e s has f o ll ow e d

.

E ur o p e a n e xampl e a n d has n o t y e t r e ach e d a p o i n t wh e r e it

c a n b e sa i d t o r e pr e s e n t a p e o pl e o r t o h old a plac e i n t h e

hist o ry o f art .
33 8 I
H S TO R Y O F PA N T N G I I
f ro m t h at cou n t ry a re E mil O rli ck Al b e r t H yn ai s H u d e s e k
, , ,

J an sa .

I n Hu ng ary th e b e st o f th e last c e n tu ry m e n was M u n k a c sy

(1 8 4 6 a pai n t e r s om e what s e n sati o n a l as r e gards bot h
h is s u bj e cts a n d his m e th ods H e was a r e ckl e ss us e r of
.

bit u m e n b u t a v e ry cl e v e r h a n dl e r of th e b r ush O f cours e .

h is i nflu e n c e i n a n d o u t o f Hu ngary h as b e e n la rg e A t th e .

pr e s e n t tim e Budap e st is a c e n t r e o f art with a la rg e mus e um ,

a Kiln stle rh au s a R oyal S o ci e ty a n d a diss e n ti n g s e c e ssi on

, ,

party as e ls ewh e r e T h e e xhibiti on s t h e r e a n d at Vi enn a h av e

.

ma n y p ict u r e s by Hu n garia n s that S h o w al l sorts o f mod e r n

sch o o l i n fl u e n c e s It is h a r dl y w o r t h w h il e to att empt th e
.

a n alysis o f th e s e vari o us i n flu e n c e s at th e pr e s e n t tim e T h e .

n am e s o f s o m e o f t h e m o r e mod e r n e x h ibit o r s a re Ri ppl

R on ai Fr an z O lgy ay Z o l tan C s a k t orn ay K a rl K e r n s to c k

, , , ,

J ohan n V as zary F e r di n an d K a ton a Pa u l J a vo r

, , .

RUS S IA " L ittl e was k n ow n ab o ut R ussia n a r t u n til r e c e n t

y e ars t h o u gh doub tl e ss s om e By za n t in e t raditi on s h av e a l

,

ways h e ld t h r o u gh th e G r e e k C h urc h M o d e r n a r t i n R ussia .

b ega n wit h th e l ast qua r t e r o f th e n i n e t e e n th c e n tu ry a n d

was at first m o r e o f a m o r ali zi n g i n flu e n c e t h a n a n ae sth e tic
c r e ati o n o r t e ch n ical acc o mplishm e n t P e r off pai n t e d t h e s e rf
.
,

as Ve r e s ch ag i n th e so ldi e r to S h ow h ow badl y t h e y w e r e
,

t re at e d p o lit i cally r at h e r t h a n h ow we l l t h ey l ook e d p ic tori

ally N e ith e r pai n t e r w a s e xp e r t wit h th e brush A ft e r
. .

1 89 2 a n e w e r gr o u p o f m e n cam e o n with mod e r n t r ain i n g

a n d t e ch n iq u e . Bu t t h e hist o rical th e m e w as r e tai n e d a n d
R u ssia n pai n ti ng st il l e xcit e d admirati o n or pity o r t e rr o r ,

by its h arr owi ng sc e n e s R e pi n s pict u re o f Iva n th e C r u e l

.
’

is th e typ e M ali avi n e a pai n t e r o f p easa n ts Va sn e zov o f

.
, , ,

h ist o ric a n d ro ma n tic s u bj e cts N e st e r ov of m on ks M a k ow s k i

, , , ,

o f R ussia n lif e i n its barbaric sp l e n do r a r e t h e succ e ssors o f ,

R e pi n I n la n dscap e w o rk th e r e h as b e e n s o m e s impl e r a n d
.

b e tt e r w o rk fr om S ch i s chk in Va ss i li e v a n d o t h e r s A t th e
, ,
.
 I
PO S T S C R PT 339

p r e s e n t tim e t h e r e a r e ma n y pa in t e r s a n d pictur e s at
Pe tr o g r ad ; but R ussia n art is stil l in a fo rmativ e stat e At .

W arsaw in Po lan d t h e r e is cla im mad e fo r a sc h o ol a n d a n

a r t of its ow n ; but it is littl e improv e m e n t up on t h at o f
Pe tr o grad C h e lm i n sk i G e r s on G o r s k i are its r epr e s e n ta
.
, , ,

t iv e s . F inl a n d is all i e d to S w e d en a n d on e is n o t sur pris e d

t o fin d t h e r e m o d e rn pain tin g fa r adva n c e d wit h m e n l i k e
E d e lf e ld t, G all e n , an d Ja e rn e f e lt .

D E N M ARK " Pict o r ial art h as e xist e d in D en ma r k fo r s e v e ra l

c en turi e s but o nl y in a f e eb l e way N o t un t il c on t e mpora ry
,
.

t im e s h as it pr o v e d of im p o rta n c e t o a r t l ov e rs D ur in g th e .

n in e t e e n t h c e n t u r y it f o ll o w e d t h e c o ur s e of pai n ti n g e ls e wh e r e .

C lassicism was p e r s on ifi e d in E ck e r s b e rg (1 8 2 2 1 8 7 0) a n d -

e c l e cticism in ma n y o f his p u pils T h e r e was a p e riod o f

.

h ist or y pa in tin g gen r e pain tin g n ativ e st o ry t e ll in g a r t ;

, ,
-

but n on e of it was v e ry g oo d t e ch n ically th o ug h sin c e r e e n o u gh

in spi r it . K ar l B l o ch (1 8 34 1 8 9 0) a n d Z ah r tm a n n (1 8 4 3
—

h av e pain t e d h ist ory as A xe l H e l ste d (1 84 7 gen r e; but

P e t e r Kr Oy e r (1 8 5 1 is th e b e st k n own n am e in D a n ish pain t
in g at th e p r e s e n t t im e . T h at may b e b e caus e h e is a mast e r
t e chni cian a n d was train e d in Paris un d e r Bon n at an d oth e rs .

H e is an e xc e ll e n t draftsma n an d pain t e r a n d i n h is ow n way ,

as appli e d to th e p e opl e an d sc e n e s of h is ow n c o un try h e h as ,

sh own man y o f th e m o d e r n m e t h o ds o f lig h tin g plei n a i r a n d ,

-
,

f u ll colo r S o m e o f his p o rtraits ar e b e yo n d c r iticism so fin e

.

are they . Tuxe n (1 8 5 3 has do n e ma n y O ffi cial p o rt r aits h e , ,

t oo h avin g r e c e iv e d in st ru cti on i n Pa r is
,
J o h an s e n (1 8 5 1
.

I rm i n g e r (1 8 5 0 Ri n g (1 8 5 4 H ol s Oe (1 8 6 6 a r e abl e

pain t e r s o f D a n ish lif e in t ow n an d city a n d P e d e r s e n (1 8 5 4

,

Pau l s e n (I 8 6 0 R oh d e (1 8 5 6 d ep i ct th e D a n ish l a n dscap e .

B e sid e s K r Oy e r s pictu r e s o f th e c o ast a n d fish e r f o lk t h e r e are

’
-

se a pai n t e r s l ik e M i c h a e l A n ch e r (1 8 4 0 a n d L o ch e r (1 8 5 1

Th e m o d e r n m o v e m e n ts i n Paris L o n d o n o r Be rli n n ow, ,

q uickly fin d r e fl e ctio n in C op e nh ag e n an d o n e may se e wit h

3 4 9 I
H S TO R Y I
O F PA N T N G I
c o n t emp o r ary m e n i n flu e n c e s spr i ngi n g fr o m impr e ssi o n ism ,

symb o lism o r W histl e r i sm T h e y m o dify but d o n o t sway

,
.

t h e n ativ e D a n ish p o i n t o f vi e w T h e r e c e n t m e n a r e E jn ar
.

N i e ls e n H amm e rsh oj F r oli c h

'

.
, ,

S W EDEN Pai n ti n g i n S w e d e n e asily l e ads al l t h e r e st i n

"

S ca n di n avia T h e Paris E xp o sitio n o f 1 8 8 9 off e r e d a gr e at

.

s u rpris e to p e opl e o f th e pict ur e w o rld so stro n g at t h at tim e

was th e sh owi n g o f S w e dish pai n ti n g T h e art t h e r e show n .

was bas e d o n Parisia n t e achi n g an d r e pr e s e n t e d th e m o d e r n

m en . T h e y w e r e by n o m e a n s th e first S w e d i s h pai n t e rs .

T h e traditi o n o f a r t ru n s furth e r back i n S w e d e n tha n e ls e

w h e r e i n S ca n di n avia r u n s back in fact t o th e e ig h t e e n t h

c e n t u ry Bu t th e pai n ti n g o f th o s e e arly days was n o t im
.

pr e ssiv e o r n o t e w o rthy T h e v ogu e o f classicism r o m a n ti

.
,

c i sm a n d p r e R apha
,
-
e litism c am e a n d w e n t a n d agai n l e ft n o

n o t e w o rthy w o rk T h e i n fl u e n c e o f D ii sseld or f pr o d u c e d a
.

gr o up o f D u ss e ld o rf pai n t e rs i n S t o ckh o lm an d still fail e d to

pr e s e n t S w e d e n or th e S w e dish p e opl e Th e u pward tur n i n .

S w e dis h art was b e g u n with S alm s on (1 8 4 3 G e g e r f e lt

(1 844 a n d H a g b or g (1 8 5 2 w h o n o t o n ly studi e d i n Paris

a n d attai n e d s o m e t e c h n i c al mast e ry but pass e d o n t h e t e ac h

i ng a n d th e p e asa n t s u bj e ct t o o t h e r s T h e r e s ul t i n th e lat e r
.

g e n e rati on s has b e e n a r e markabl e gro u p o f pai n t e rs e quipp e d

with c o sm op olita n t e ch n iqu e an d applyi n g it wit h muc h i h
div i du ali ty as w e l l as bril lia n cy t o S w e dis h th e m e s Hig h ligh t .

a n d col o r has b e e n acc e pt e d but n o t e xactly i n a n impr e ssi o n

i s t i c w ay T h e r e is n o d o tti n g of c o l o rs b u t much layi n g o n

.

o f pur e p igm e n ts with t h e flat of t h e b ru s h Hig h l ig h t wit h .

th e m d o e s n o t s e e m to b e so m u ch a sci e n tific c ombi n ati o n o f

br o k e n c o l o rs as a r e cord e d fact o f th e n o rt h cou n t ry w h e r e th e
l o ng s u mm e r days pr o d u c e muc h warmt h o f h u e T h is h as all .

b e e n w e ll d e m o n strat e d n o t o n ly wit h brillia n cy but wit h

,

truth a n d i n dividuality i n th e works o f th e la n dscapists

,

Kr e u g e r N o r d s tr o m Pr i n c e E u g e n A xe l W a ll an d e r W a hl
, , , ,
3 4 2 I
H S TO R Y I I
O F PA N T N G

Th au low , took up wit h m o d e rn id eas of l ig h t an d h ig h c o lo r

w h ic h th ey sh ow e d wit h much e ff e ct i n win t e r sc e n e s of co l d ,

s now st ill wat e r br illia n t r e fl e ctio n s sil e n t t r e e s co l o rf u l ski e s

, , , , .

T h e p r e s e n t N orw e gia n co n tin g e n t has b e com e mor e l e ar n e d

a n d e xp e rt t e ch n ically tha n its pr e d e c e ss o rs a n d t h e y o un g e r
,

m e n a r e n ow giv e n to e l e ga n c e s of th e b r us h c o mparab l e to
th e i r co n t e mpo r a ri e s in S w e d en Th e t e n d e n cy is t o ward
.

cosmop olita n ism i n a r t wit h Pa r is as an i n spi r ati on an d N o r

way for a th em e S om e o f th e n otab l e mod e rn s ar e S tr om
.
,

H e nni g H je rl ow S t e n e r son
, , .
 I ND E X

AB B E Y , E dw i n A .
, 33 1 . A p ll
o o do rus , 33 , 3 4 .

Ae l st ,
W ill e m Va n ,
2 72 . Ap t, Ulr i h c ,
2 86 .

A e r tse n , P .
,
232 . Ar a d a L i s Ji mi
n ,
u n ez , 2 1 9 .

A eti on , 3 6 A ra i J I 9
'

. nz ,
ac ,
0 .

A g a th a r ch u s , 33 . A r i s ti d s 3 5 e ,
.

Ai mé -
M o r o t , N i co l as ,
1 98 . A rt D A C 7 3
z, . . .
,
2 .

Al b a i Fr a n ,
s 46
n c e co , 1 . A ub rt E r s t J a
e ,
ne e n, 1 81 .

Alb e r t i n elli , M a ri tt o o , 1 06 .

Ald e g r e v er , H e i n i ch , r 2 84 . BA C CHI A C C A , 1 08 .

Ale m a nn u s , J ha o nn e s , 95 . B a k r Ja
c e ,
co b , 2 6 0 .

Al e xa r F 3 5
n de ,
.
,
2 . Backh ui se n , Lud lf o ,
2 71 .

Al e xa
d r J W 33
n e ,
. .
,
0 . B a 98
co n , 2 .

Ali g y C l ud Fr a c i s
n ,
a e n o ,
1 74 . B a dil A t i e, 4 n on o , 1 0 .

A ll g ri P mp i
e ,
6 o on o, 1 2 . Ba a Al f s d
en , 3 on o e, 2 1 .

All ri C ri s t fa
o , 46 o no , 1 . B ag a avall B a rt l mm
n c o, o o eo R am en

A ll s t W ashi g t
on , 3 n on , 21 .
g hi , 1 22 .

A lma T a d ma Laur
-
e ,
e nz , 2 4 9 . B ak r G eo g e A , 3 2 5
e ,
r . .

Al t , R .
, 33 7 . Ba ldo vi n e t t i , A e io , 7 6 l ss .

lt r r A lb r
A d o fe ,
ech t ,
2 84 . Bald u ng , H a s n ,
2 84 .

A lt i chi e r i , 9 0 . B alt P 34en , .

,
2 .

Alvar Lui s
ez , D o n ,
21 9 . B a rb a r i J d 97,
ac . e
’
,
.

A ma J a n-E 95 e n, .
,
1 . B a rg u C h a rl s
e, 98 e ,
1 .

A m b r g i d Pr di s
o o a e ,
1 1 9 . B m j Ba rt
ar e o, 3 .
,
21 .

A mi di S a dr
co 78 n o, . Ba r a 6 5
n , .

A n ch e r , 33 9 . Ba r i F d rig
occ o , 44 e e o, 1 .

ra
A n d e d a Fi r e nz e , 62 . Ba rt l s e 93 ,
2 .

An g lie co , Fr a G io va n ni ,
66 , 6 7, Ba rt l i di M a s tr Fr di 6 5
o e o e , .

An gl a d a ,
21 9 . Ba rt l D m i di 6 6
o o, o e n co ,
.

An s lmi M i h l a g l
e ,
c e n e o, 1 2 6 . Ba rt l T a dd
o o, di 6 5 eo ,
.

A t i hus G b i i
n oc 4 a n us, 2 . Ba rt l mmo o F (Ba i eo , ra cc o d el la
A t
n on ell d M ss i a o a e n , 96 . P rt a )
o 6 ,
10 .

A t i V
n on o ia 6 e n ez no , 2 . Ba rt l mmo o V t 99 eo e ne o , .

A p ll s 3 6
e e ,
. B a sa iti M ar ,
co , 1 0 1 .
344 I ND E X
Bass a no , F ra n ce c o , 1 s 37 . Bi ss l o o, Pie r Fra n ce co s 1 01 .

Bass a no , Ja p co o, 1 37 . BjOrc k , O .
, 34 1 .

Bass a no , L a dr e n o, 1 37 . Bl a k b ur 3 9
c n, 1 .

Ba s te r t , N .
,
2 74 . Bl ak W ill iam 3
e, ,
03 .

B astia i La a r 9 8 n ,
zz o, . Bl ak l k 33 4 e oc ,
.

Bas t i L pag J l s 9 6
e n- e e, u e ,
1 . Bl a h nc J a qu s e, c e ,
1 95 .

Baud ry Pa l 9 93 ,
u ,
1 2, 1 . Bla sh fie ld , E d wi n H .
, 33 1 .

Baur 74 ,
2 .
Bls H m
e ,
. et de , 231 .

B aux C il ia 3 3
e ,
ec ,
1 . Bl h 3 39
oc ,
.

B f mi D m i
e c ca u ,
o e n co , 1 2 1 . Blo mm e rs , B .
J .
,
2 73 .

B e cerra G aspa r 9 , ,
20 . Blum R b rt 33 ,
o e ,
0 .

B k w i th J C a rr ll 33
ec ,
. o ,
0 . Bo k l ic A r ld n,
94 no ,
2 .

B h y S i W ill i am 3
ee c e ,
r ,
01 . B l F r di a d
o , 6 e n n ,
2 0 .

B rs J
ee 49
,
a n va n , 2 . B l d i i G ius pp
o n 5 ,
e e, 1 2 .

B h am Ba rth l
e 84 ,
e ,
2 . Bolt ra ffio , G io va n ni An t o ni o , 1 1 9 .

B h am S b a l d
e 84 ,
e ,
2 . Bo n fig li , Be n e d e tt 8 o, 1 .

Be ll ech o se , H e nr i , 1 55 . Bo n h ur A ug us t
e , 89 e, 1 .

l
Be l i ni , G e n i tl e, 98 . Bo n h ur R sa
e 88
, 89 o ,
1 ,
1 .

Be ll i i G i va
n ,
o n ni , 99 . Bo n ifa i Pi t a ti
z o 37 ,
1 .

Be ll i i J a p
n ,
co o, 98 . Bo n i gtn R i h a rd Pa rk s
on , c e , 3 09 .

Be ll tt
o 5 o, 1 0 . Bo n n at Lé , 94 on , 1 .

Be ll ws G rg
o ,
eo e, 3 34 . Bo n s ig i Fra nor s 9 ,
n ce co , 1 .

Be n jami n- Con s ta t J a n ,
e n J s ph o e ,
Bo n v i Fr a c i s
n, 98 n o ,
1 .

1 95 . Bo r assa , Lui s ,
207 .

s A mb r s ius 9
Be n on, o ,
22 . r
Bo d o n e , Pa ri s ,
1 37 .

B s Fra k W 33
en o n , n 1 . Bo rg og no n e , A mb r og io , 86 .

B v ut di G i va ni 6 6
en en o o n ,
. Bo sb oo m , J .
,
2 73 .

Beraud J a ,
e n, 201 . Bo s ch ,
Jr me o e, 232 .

B r h m C l aas Pi t
e c e 7 , e e r sz , 2 0 . Bo h ,t J 7 an, 2 0 .

Be r n e - Be lle c o u r , Et ie n ne Pro sp e r ,
Bo tt i ll i S a dr 7 7 7 8
ce ,
n o, ,
.

1 98 . Bo tt i i i Fra
c n 78 ,
n ,
.

Be rr tt i
e ni , Pie tr o (il C o rto n a ) ,
1 46 . Bo u h r Fr a c i s 6 4
c e ,
n o ,
1 .

Be rr ug u e t e , Al o nz o , 2 0 8 . u u
Bo d i n , E g en e , 2 0 3 .

r
Be rr u g u e te , Pe d 8 o, 20 . u u r au
Bo g e e ,
W A do l ph . e, 1 92 .

Be rt i J a V i t r 7 4
n, e n c o ,
1 . B ul a g r L
o nis 78 e ,
ou ,
1 .

Be s a rd Paul A l b rt
n , e ,
2 01 . B l g
ou e n H ipp ly t er,49 o e, 2 .

Be tt s J 9 7
e ,
.
,
2 . B di h
ou r J a 56 c on , e n, 1 .

Be u c k e la e r , 232 . B urd
o S b as t i
on , 6 e en , 1 1 .

Bi a rrar i 84
n c h i- Fe , . B ut s A l b rt
o , 7 e ,
22 .

Bie rsta dt A l b rt 3 ,
e ,
24 . B ut s T h i rry
o , 7 e ,
22 .

Bi n k J ak b 8 4
,
o ,
2 . Bra d f rd W ill iam 3 5
o , ,
2 .
3 4 6 I ND E X
C l v th Y u g r 3 8
e e e o n e ,
2 . C o xcy e n , M . va n , 2 3 7 .

C l u t Fr a c i s
o e ,56 n o ,
1 . C o yp e l, A n t oi ne , 1 60 .

Cl u t J a
o e 56 ,
e n, 1 . C o ze n s J ,
oh n Rob e rt 3 ,
10 .

C lloe C l audi
o, 3 o, 2 1 . C ra a h
n c (th e E ld r) Lu as e ,
c ,
2 88

C ffo W ill iam A 334

i n, .
,
. 2 89 .

C g i t Lé
o n e 78 ,
on, 1 . C ra a n ch (t h e Y u o ng e r) Lu as , c ,

C l P t r 98
o e, e e ,
2 . 2 89 .

C l T h mas 3 3
o e, o ,
2 . C ra R Bru 334
ne , . ce , .

C l Vi at 3 5
o e, c ,
1 . C r aw h all J s p h 3 6 ,
o e ,
1 .

C l ma
o e C C 3 9 n, . .
,
2 . C r a y r G asp r d
e 44 ,
e e, 2 .

C ll i s A Q 33
o n ,
. .
,
1 . Cr di L r
e ,
di 7 8 o enzo ,
.

C l ma
o S amu l 3 34
n, e ,
. C i t
r s u s,P t r 5 e e ,
22 .

C o ni n xlo o , C . va n , 2 3 6 . C r i v lli C a rl 9 6
e ,
o, .

a
C o nr d d e S o e st ,
2 78 . C r m J h (O ld C r m
o e, o n o e ) , 306 .

Con s ta b l J h e, o n, 30 7
— 08
3 . C r me J B 3 7
o ,
. .
,
0 .

t r C uy p A l b rt
’
C o n i , Be n . de ,
1 1 9 .
, 7 e e ,
2 0 .

C oo p r C C 33 5
e ,
. .
,
. C za k t o r n a y , 33 8 .

C oo p r S 97
e ,
.
,
2 .

Co p l y J h S i gl t 3 3
e ,
o n n e on , 0 . D B r a rdi
AD DI , 6 e n no , 2 .

Co qu s G al s 4 6
e ,
o nz e ,
2 . D ag a B uv r t Pas al A
n n- o e e ,
c .
J .
,
1 99 .

C or m F r a d
on , 95 e n n ,
1 . D ahl 34 ,
1 .

Co r ill d L y
ne 56 e e on , 1 . D al ma Luis 7 n, ,
20 .

Co r lis
ne H aa rl m 56 va n e ,
2 . D a m O p h il u s , 4 2 .

Co r l is
ne O t 55van o s sa n e n , 2 . D a m oy e , Pie e E rr mma u l n e ,
1 87 .

Co r l ius P t r
ne 9 ,
e e vo n , 2 1 . D a nn a t , W ill i am T 33 2 .
,
.

Co r t J a Bap t is t C am ill
o ,
e n e e, 1 84 D a ta n n, Joseph Ed ouard ,
1 99 .

1 85 . D a r t J a qu s 5
e ,
c e ,
22 .

Co rr e g g io (A n to n io A ll gri) e ,
il , 1 23 D aub ig y Charl s Fra n ,
e n co i s ,
1 86 .

1 26 . D av id G ra rd 9 ,
e ,
22 .

Co i s m Pi r d i o, e o , 78 . D av id J a q u s L uis ,
c e o ,
—
1 68 1 72 .

Co ssa Fra s ,
n c e co , 84 . D av i s A B 3 3 5
e ,
. .
,
.

C o ss i e r s , 2 44 . D a rth H ry J 3 34
e ,
en .
,
.

Co s ta L r ,
o e n zo , 84 . amp J
De C ,
.
, 33 1 .

Co ts 3
e , 01 . D amps A
ec ,
. G .
,
1 78 .

Co tma J n, oh n Se ll , 30 7 . D e fe n d e n e t d e Fe rra ri ,
1 1 9 .

C o t te t , 1 99 . D e fre gg e r , 29 2 .

Co u rb t G 9 e ,
.
,
1 0 . D g as
e ,
201 .

Co us i J a 5 7
n, e n, 1 . D e la b e rg e , 1 84 .

Co utur Th mas e, o ,
1 81 . D l a r ix
e c o ,
Fe di n r a nd Vi t r c o E .
,

Co x D av id 3
, ,
1 1 . 1 76
—
1 77 .

C o x, Ke ny o n , 330 . D l ar he
e oc ,
Hi pp ly t o e (Paul ) ,
1 78 .
 I ND E X 34 7

D l a ay Jul s E li 9 5
e un ,
e e, 1 . Ec k rsb rg
e e , 3 39 .

D lff J W
e , 57 . .
,
2 . E d elfe lt , 3 39 .

D N uvi ll A l ph
e e s M ari a 9 8 e, on e ,
1 . E e ckh o , G e rb ra n d ut van den , 2 60 .

D N i tti s N i tti s ll tt Charl s L ri

“ ”
e S . ee . E io , e o ng , 325 .

D e nn er Balth asa r 8 9 9, ,
2
-
2 0 . E lz h e i m e r , A d am ,
2 89 .

D t aill J a Bapti s t Ed uard

e e, e n e o ,
E ng elb r e ch tse n , C o r lis
ne ,
254 .

1 98 . E ng e h l art , 33 7 .

D e v é r i a , E g en e , 1 7 8 u . E ps t e in , 33 7 .

D w
e ey , C h e M e i l e , 3 34 arl s lv l . E tty ,
W ill i am , 30 2 .

D w
e i ng , T h o W , 3 30 mas . . u
E g e n , P i n ce , 3 4 0 r .

D e wi n t , Pe tr e , 31 1 . E u p h r a n or , 3 5 .

D ia a B
n ,
en ed e tt o, 1 01 . E up om p u s , 3 5 .

D ia d l
z e a Pe n a ,
N ar i s Virgili
c o o, E u se bio di S a n G eo gi o , 8 4
'

r .

1 86 . vr
E e di n g e n , Alla r t v a n , 2 6 8 .

D i e p e n b e e ck , A b rah am van , 2 43 .
Ey k H ub rt
c ,
e va n , 2 2 3— 2 2 4 , 2 5 1 - 2
5 3 .

D s us
ion y i , 42 . Ey k J c ,
an v an , 2 23 —
225 ,
25 1
—
253 .

D bs W
o on, .
,
2 98 .

D l i C arl
o c ,
o, 1 46 . FA B I US Pi c tr 4 o ,
2 .

Do m e n ch i n o i (Do m e n i co Z amp ier i) F a b ri t ius B r 6 ,

e n, 2 1 .

1 46 . F a b ri tius C a r l 6 ,
e ,
2 1 .

D m i V
o e n co e n e zi a no , 76 . Fa t i La t ur H
n n- o ,
e nr i , 1 99 .

D mi g J
o n o, .
,
21 9 . Fa tt ri o 5 ,
1 2 .

D at 9 5
on o, . a m
Fa v r e tto , G i co o, 1 51 .

D ssi D ss
o ,
o o (Gio va n n i di Lut r e o ) ,
Fe rrara G aud i ,
e nz o , 1 1 9 .

1 21 . l
Fi e d i ng , A n h o n y t V D . . Co pl ey ,

D ou , G e ra rd ,
26 2 .
31 1 .

D ugh
o 33 5 e rty P ,
.
,
. l ppi
Fi i S L pp
i i
no . ee
.
.

D ugh ty Th mas 3 3
o ,
o ,
2 . Fi r J
o e, b ll d l 9 5 a co e o e , .

D u i di B i g 6 4
cc o u o n n se na , . Fi ro e nzodi L r 8 o e nz o , 1 .

D E r st A g
u ez , 99 ne n e, 1 . Fi s h r M a rk 3 6 33
e , ,
1 ,
2 .

D J a rdi
u Kar l 7 n, e ,
2 0 . Fl a dr i
n J a H ipp ly t n, e n o e, 1 80 .

D upre J l s 8 5 ,
u e ,
1 . Fli k G nc t 6 ,
o vae r ,
2 0 .

D upre J l i 96 ,
u en , 1 . Fl ri s Fra
o 37
,
nz , 2 .

D ura d A sh r Br w 3 3
n ,
e o n, 2 . F ppa V i
o 86,
n ce nz o , .

D ii A lbr h t 8
re r , 83 ec ,
2 2— 2 . F rb s S ta h p 3 6
o e ,
n o e, 1 .

D uv k F 33enec ,
.
,
1 . F t or uny M a ri a 8 ,
no , 2 1 .

F s t r B 334
o e ,
.
, .

EA KI N S T 33 ,
.
,
1 . F q t J a
ou ue 55 ,
e n, 1 .

E a rl R 3
e, .
,
20 . Fr a gi o co m o , 1 52 .

E as t S i A l fr d
,
r e , 31 5 . Fra g a rd J a H ré
on ,
e n o no ,
1 65 .

E at W 33
on , .
,
1 . Fr a ca is Fr a c i s L ui s
n ,
n o o ,
1 87 .
3 4 8 IND E X
Fra s di n ce c o G io g io , 6 6 r . Gh i rl a daj D m n o, o e n i co , 79 .

Fra ia Franc ,
n c e co s (Ra ib o li n i) ,
85 . G h i rl a d aj Ri d l f
n o, o o, 1 0 7 .

F ra n c ia b ig io (Fra n ce s co di C i r st o G i mb
a Mi h l o no , c e e, 95 .

f a no Big i ) , 1 08 . G i a n p ie t r i n o (Gio va nni Pe d r i n i ) ,

Fra n c k e n , A .
,
2 38 . 1 1 9 .

F r ed e ri k c ,
L .
,
2 49 . G iff o d , R S r wa i . n, 3 34 .

Fr é m i n e t , M a rti n, 1 58 . G iff o rd S a d f rd
,
n o , 325 .

r a t E mil
F i n ,
e, 1 99 . Gio d r a no , Lu a c ,
1 48 .

Fr i d r i h O
e c ,
.
, 33 7 . G io rg i o ne (G io rg io Ba rb ar e lli ) , il
Fr Oli c h , 3 4 0 . 1 2 8— 1 30 .

rm t l as
F o e n , N i co ,
1 55 . Gio tt o di Bo n do n e , 6 1 - 6 5 .

Fr m t i
o E en79 n, .
,
1 . G io t t i n o (To mmas o di S t fae no ) ,
62 .

Full r G rg 3 6
e ,
eo e, 2 . G io va n ni da M il a no , 62 .

F ltu R 3on , .
,
21 . G io va nn i d a U di n e , 1 1 4 .

Fu g a i B r
n ,
e n, 1 2 1 . G i ro d e t d e R o uss y A ,
nne L ui s o ,
1 72 .

Fur s C W 3 6
e, . .
,
1 . Gi r lam
o o da T r vi s e o th Yu e o ng e r ,

Py t , Ja n ,
24 5 1 37 .

Gi rti mas 3
n, Th o ,
10 .

G AD D I , A g no o , 6 2 l . G i l i (Pi pp i) R ma
u o 4 o no, 1 1 .

a a
G ddi , T d d e o , 6 2 . G iu t f Pi sa 6
n o o ,
0 .

G a i s b r ug h T 3
n o o ,
.
,
00 . G l a k s W 33 4
c en ,
.
, .

G ll i t L ui s
a a 48 ,
o ,
2 . Gl y e M a r C h a rl s G a b ri l
re , c e e ,
1 80 .

G a ll g s F r a d
e o ,
e n n o , 2 08 . G s H ug
oe ,
d 7 o van er , 2 2 .

G a ll en ,
3 39 . G oltz i u s , 25 6 .

G a r fa l (B v ut
o o en en o s
T i i) , il , 1 21 G org a su s , 4 2 .

1 22 . Go rsk
i , 339 .

G a rs t en , N .
, 31 6 . Go ssart , Ja n ,
2 36 .

G augui n, 201 . Go t ch ,
T C . .
, 31 6 .

G ay , E d wa rd 3 34 ,
. Go wr G e ,
.
,
298 .

G ay , W alt r 33 e ,
2 . Go y a y Lu c ie n e t s Fra ,
n ci c o , 2 1 s 7 .

G e e r tg e n to t S t . Ja s n ,
253 . Goy e n , Ja n va n , 2 6 7 .

G e g e rfe lt , 3 4 0 . G o zzo li , Be n o zzo , 7 6 .

l r
G e de , A d e , . 26 1 . G ra n a cc i , F n ce co , ra s 1 07 .

G e ng a
r l am ,
Gi o o, 1 2 1 . G ra d i n d i Gi l i ,
84 Er l co e u o, .

G t il d Fa b r ia
en e 66 a no , . G ra y 3 5 ,
2 .

G éra rd Ba r Fra c i s Pas a l

, 7 on n o c ,
1 2 . Gr h ill
een 98 ,
2 .

G eri ault J a L ui s A T
c 76
,
e n o , . .
,
1 . Gr i r 9 3
e ne ,
2 .

G i i N i l d i Pi r 6 3
er n , co o e o, . Gr u e J a Bap tis t 6 6
ze , e n e, 1 .

G er m J a L é
o e,
9 e n on , 1 2 . G r s Ba r
o A t i
,
Ja on n o ne e n, 1 72
-
1 73 .

G rse on ,
3 39 . G ii w ld M a tth i as
r ne 84 a , ,
2 .

G vex H ri 9 9
er ,
en ,
1 . G rii tz n e r , 29 2 .
35 0 IND E X
I n ne ,
ss
G eo ge , r 33 2 —
33 3 . l r
K i ng e , M a x, 2 93 .

I n no c e nz da a Im la o l t
K in , G , 33 7 . .

1 14 .
K ll r
ne e ,
S i r Go d f r ey , 2 9 7 .

I rm i n g e r , 3 3 9 .
K ll ma
o n, 33 7 .

Is a be y , E g e ne , u 1 80 . K o ls toe , 3 4 1 .

I se n b ra n t , 2 29 .
K oni g , 3 3 7 .

Is ra l s J e ,
o z e f, 2 72 . Ko ni n c k S al m,
o on , 2 6 1 .

Kost 335 ,
.

J A CQ U E ,
Ch a rl s e ,
1 88 . Kr ug r 3 4
e e ,
0 .

J a e r ri e fe lt , 3 39 .
K r og , 34 1 .

Ja m i so n e ,
T .
,
298 . Kr Oy e r , Pe
’

trS e .
, 33 8 .

J a sa n , 338 .
Ku hl G e ,
.
,
2 93 .

J a rv i s J h ,
o n W e sl e y , 3 23 . Kul m b a h c ,
H a s n vo n , 2 8 4 .

J av r 3 3 8
o ,
. Ku nz , 2
79 .

J w tt 3
e e ,
22 .

J a s 339
oh n en, . L A FA R G J E, oh n , 3 2 8 -
329 .

J h s D avid 3
o n on , ,
25 . La r t N i l as 6 4
nc e ,
co ,
1 .

J h s E as tma
o n on , n, 3 28 . La d s r S i E d wi H ry
n ee ,
r n en , 3 04 .

J g k i d 74
on n ,
2 . La i r N 9 8
n e ,
.
,
2 .

J s
on on, 298 . L g illi e
ar N i l as 6 re , co ,
1 2 .

J rd a s J a
o en ,
co b , 2 44 . La rss 34 on , 1 .

J rg s 34
o en en , 1 . Larwi 33 7 n, .

Jo u ve n e t , J a e n, 1 60 . L a st m a n , Pi e tr e ,
256 .

Jua n d e Bo g o n , r a 2 08 . La th p W L 334
ro ,
. .
,
.

J ua n ne , s J ua
n de , 21 6 . La t u h G
o c e, .
,
201 .

Jus tus va n Gh en t ,
2 36 . Laur s J a Paul 9 5
en ,
e n ,
1 .

Lav ry J h 3 6
e ,
o n, 1 .

K A L F , W il lm e ,
2 72 . Law r S i Th mas 3
e n ce , 3 r o ,
01
-
02 .

K arl i sk y 3 3 7
n ,
. Laws C il G rd 3 5
on , ec o on , 1 .

Ka t a F 3 3 8
on ,
.
,
. Laws E 334 on , .
,
.

Kau ffma A g l i a n, n e c ,
290 . Laws J h 3 6 on , o n, 1 .

K aul b a h W il h l m c ,
e von , 2 9 1 . L al Va l d s 6
e ,
e ,
21 .

Kel lr e ,
293 . L b ru Ch a rl s 6
e n, e ,
1 0 .

Ke n d all ,
S e ge n , 33 1 r a t . L b ru M a ri E l i ab th L ui s
e n, e z e o e Vi
Ke n s tt Je ,
oh n F , 3 2 3 . .
g ee 1 74 .

Ke r st k 3 38
n oc ,
. L ee m p o els , J .
,
249 .

Ke v r J S H 74
e ,
. . .
,
2 . L v r Jul s J s ph
e fe b e, e o e ,
1 94 .

Ke y A d r ia
, 38 n, 2 . L i b l W il h l m
e , 93 e ,
2 .

Ke y W ill m
, 38 e ,
2 . L igh t S i Fr d ri k
e on , r e e c , 31 4 .

Ke y s r T h mas d
e ,
o e, 2 58 . L l ir A l xa dr L uis
e o ,
e n e o ,
1 98 .

Kh n o p fl , F
'

.
,
2 49 . L ly S i P t r 9 7
e ,
r e e ,
2 .
 I ND E X
35 1

L e M oy n e , F ra n .
,
1 62 . a p
M c i Vin ce n te 2 1 6
, , .

Le N in , 1 5 8 a . M a cr in o , d Al b a , 1 2 0 ’
.

L e n b a ch , F ra nz , 2 9 2 . M cT agg a r t , 3 1 6 .

L e on a rd o d Vi a n ci , 1 1 5
-
1 1 8 . a
M dr zo R ia n do d e 2 1
, 9 a mu ,
.

L e r olle , H e nr i , 1 90 . a s
M e N i col,
2 60 aas , .

L s li R b rt Ch arl s 3 3
e e, o e e ,
2 . a
M ig n n 1 9 9 a ,
.

L S u r E us t a h
e eu6 ,
c e, 1 1 . a a
M i n rdi B ti n o 8 0 ,
as a , .

L thi e
e G i ll aum G ill
re , u e u on , 1 72 . M ak ar t H n 2 9 2 3 3 7
,
a s , , .

L ut E ma u l 3 5 3 6
e ze , n e ,
2
-
2 . M oak wsk i 33 8 ,
.

L wi s J h Fr d ri k 3 4
e ,
o n e e c ,
1 . M alia vi n e 3 3 8 , .

L y d Lu as
e en , 54 c va n , 2 . M alo u el J e n 1 5 5 ,
a ,
.

L y s Bar J a A ugus t
e ,
on e n e H e nr i , a
M n ci ni 1 5 2 ,
.

248 . a ua
M n e t Edo rd 1 9 9 — 2 00
, , .

Judi th 5 8
L e y st er , ,
2 . a su va
M n e ti G io n ni 9 8 , ,
.

Lh rmi tt L é A ugus ti
e e, on n, 1 96 . a a a
M n t e g n A n dr e 8 9 , ,
.

Lib r l d V r a 9
e a e a e on ,
0 . aa a a
M r tt , C rl o 1 4 6 , .

Lib ri G ir l am d i 9
,
o o a ,
1 . a
M rch e tti 1 5 2 , .

L i i i B r ardi
c n o, 38 e n no , 1 . a
M r co ni R o c co 1 3 8 , , .

Li e , J o as n , 33 5 . M a r g a r i to n e o f A re zzo , 6 0 .

Li b rma
e e nn ,
M a x, 2 9 3 . M a r ilh a t P 1 7 9 ,
.
,
.

Li v s J
e en ,
an , 2 6 1 . a s am s
M ri J ,
e 2 73 ,
.

Lil je for s , B ru no , 34 1 . a s a w
M ri M tth e
,
2 74 , .

L ipp i F Filipp 7 6
,
ra o, . a s m
M ri W ill e
,
2 74 ,
.

Lipp i Filippi 7 7
,
no , . a m
M rmi o n S i o n 1 5 6 , , .

L h r 339 a
’

oc e ,
. M rti n , H e n ri 1 9 9 , .

L kw d W ilt 33
oc oo ,
on , 0 . a m
M rti n H o e r 334, ,
.

L mb ard Lamb rt 3 7
o ,
e ,
2 . a m
M rt ini S i o n e 6 5 , , .

L gh i Pi tr 5
on , e o, 1 0 . a
M rto rell 2 0 7 ,
.

L oo , C a rl 63 e v an , 1 . a a
M rzi l e 1 0 1 ,
.

L r tti A mb r gi 6 5
o e nz e ,
o o, . M asa mmas
cc io To o 75
, 76 , ,
.

L r tti Pi tr 6 5
o e nz e ,
e o, . as mmas
M oli n o T o o Fi n i 7 5
, ,
.

Lro e n zo V ia 9 5 e nez no , . as a
M te r o f D e th o f V i rg i n 2 3 1 ,
.

L tt L r
o o, 37 o e nz o , 1 as aus u s
M te r o f H b ch 2 85 ,
.

L ow , W ill H .
, 33 1 . as s a
M te r o f H e i t e rb ch A lt r 2 7 8 a ,
.

Lui i n ,
Be r a rd i
n no , 1 1 8 . as s k
M te r O f Ki n fo l o f Vi rg i n 2 7 8 ,
.

Luks ,
G B . .
, 335 . as L s
M t e r o f ie b o rn 2 7 8 , .

as L
M te r o f ife o f V irg i n 2 7 8 ,
.

M C BR ID E A 3 1 6 ,
.
,
. as u s
M te r o f M o l i n 1 5 6 , .

M c E n te e J e rv i s 3 2 5 , ,
. as
M te r o f O u lt re m o n t 2 5 5 ,
.

M c E w e n W a lte r 3 3 2 , ,
. as
M te r o f S t B a r th o lo m e w A lt r 2 7 8. a ,
.

M cL a n e J e a n 33 5 , , . as v
M te r o f S t S e e ri n 2 7 8 .
,
.
35 2 IND EX
M as t re of th e V irg o in tr e Vi rg in e s, M i ll e t J e n Fr n coi , 1 8 9 , 1 9 0
,
a a s .

254 . a a ua
M ir n d J n C rre no d e , 2 1 2 ,
a .

a
M tte o di G io n ni 6 6 va ,
. M oll 33 7 ,
.

M a u fr a 2 03 ,
. M oly n Pi e te r d e , 2 6 8
,
.

M auv e A n to n 2 7 4
, ,
. M om p e rs , J d e , 2 39 . .

M ax G 2 9 2 3 3 7 .
, ,
. M o n e t C l d e 2 0 2 2 03
,
au ,
-
.

M ay E H 3 2 9
,
. .
,
. a a a
M o n t g n B rto lo eo , 9 2 ,
mm .

a a
M y n rd G e o rg e W 3 3 5 ,
.
,
. M o o re A l b e rt 3 1 4
, ,
.

a ua
M zo J n B t i t M rt in e z d el,
,
au s a a M oore H e n ry 3 1 5
, ,
.

21 2 . M or le , a s Lu s
i d e , 2 09 .

a
M zzol i no d o i co 1 2 2 ,
Lu v ,
. M or n Tho a mas 325
, ,
.

M e ir e G e r r d v a n d e r 2 2 9
,
a ,
. M o re au us av
G t 1 95 , , .

ss
M e i o ni e r , J e n o ui E rn e a L s st ,
1 97 M o r e else P 2 5 7 ,
.
,
.

1 98 . M o re ll i D o e n i co 1 5 1
,
m ,
.

M e is t e r Be rtr am 2 7 7 ,
. M o re tto (A l e n dr o B o n i ci n o ) i l, ssa u v
M e i s t e r Fr a n c k e 2 7 7 ,
. 1 39
—
1 40 .

M e i s te r S te p h e n (L o chn e r) 2 7 8 ,
. a
M o rl n d G eo rg e , 3 03 ,
.

M e i s te r W ilh el m 2 7 8 ,
. M o ro A n t o n i o 2 3 8
, ,
.

M e l ch e rs G a r i 33 2 , ,
. M o ro n e D o m 9 1 ,
.
,
.

M elo zzo d a F01 11 8 2 ,

. M o ro n e , Fr n c 9 1 a .
,
.

M e l v ill e A rth ur 3 1 6 , ,
. M o ro ni , G io n ni B tti t , 1 4 0 va a sa .

M e lz i Fra n c 1 1 9
,
.
,
. s
M or e S F B 3 2 2 ,
. . .
,
.

M e ml i g H a s 2 2 7 2 2 8
n n —
, , . M o rto n , Tho , 3
16 mas .

M e mm i L ipp o 6 5 , ,
. s
M o er 2 80 ,
.

M e n g s R ap h a e l 2 9 0
, ,
. M o stae r t Ja n 2 5 5 , ,
.

M e nzel A do l f 2 9 3 , ,
. u
M o n t W ill i S 325
,
am .
,
.

M e sd a g H e n dri k W ill e m 2 7 4
, , . w a
M o b r y H S iddo n , 3 3 1 ,
. s .

M e tc a l f W ill a rd L 33 1 3 3 4
,
.
, ,
. M iille r L K , 33 7,
. . .

M e t ro do r u s 4 2 ,
. M iille r , N , 3 4 1 . .

M e t su G a b r i e l 2 6 4
, ,
. u a
M lre dy W ill i 30 5 ,
am ,
.

M e ts y s Ja n 2 3 7 , ,
. M ul tsch e r 2 80 ,
.

M e ts y s Q ue n t i n 2 2 9
, , . M u nk a csy M ih l y , 2 9 4 33 8 ,
a ,
.

M i ch allo n A c h ill e E tn a 1 7 4 , ,
. M u n th e G 3 4 1 ,
.
,
.

M iche l G e o rg e s 1 8 4
, ,
. M u n th e L 3 4 1 ,
.
,
.

M ic h e l a n g e l o (Buo n a rro t i) 1 0 8 1 1 0 ,
-
. u
M rill o B rtol o é E teb n 2 1 5
,
a m s a ,

M i che tt i Fr a n ce s co Pa ol o 1 5 1
, ,
. 21 6 .

M ie re ve lt M i c h i e l Ja n sz 2 5 7
, , . up
M r h y J Fr n c i ,
. a s , 3 34 .

M ie r i s Fra n s v a n 2 6 2
, , . s
M y e r J e ro e 3 3 5
,
m ,
.

M ig n a rd Pie rre 1 6 2 , , .

M ill a is S i r J o h n 3 1 1 3 1 3
, ,
-
. N A RD O di C io n e , 6 3 .

M ill e t Fra n c i s D 3 3 1
,
.
, . N a t o i re , 1 6 3 .
354 I ND E X
Pe t te nk o fe n , 3 3 7 . R am ghi en ,
1 22 .

a tta
Pi z ze ,
G B , . . 1 48 . R amsa y 3 ,
01 .

Pie r o de l l a Fra n ce c sa , 81 . Ra g r H
n e ,
.
, 3 34 .

Pi e r o di C o i sm o, 78 . R ap h a l S a e nz i o , 1 1 1 - 1 1 4 .

Pilo ty , C arl Th e o do r vo n , 2 9 1 — 2 9 2 . R a u chi ng er , 33 7 .

Pi n e , R .
, 320 . R a ve st e y n , Ja n va n , 25 8 .

Pi n turi hi cc o, Be r a rdi
n no , 83 . R e dfie ld , E . W .
, 3 24 .

Pio mb S b as tia d l
o, e no e ,
1 36 . R eg n ault H ri 9 5 ,
en ,
1 .

Pi sa V itt r (Pisa ll
no , o e ne o ) , 90 . R eg n ault J a Bap tis t ,
e n e, 1 71 .

Pi ssa r C a m ill
o, e, 201 . Re h n, M 3 35
F K . . .
, .

Pizzo l o, N i c co l o, 89 . R e i ch li ch , M 2 80 .
,
.

P la tt , Ch a rl s A e .
, 3 34 . R e id , J . R .
, 31 5 , 31 6 .

Ply de n w u rff , W ilh e l m ,

281 . R e i d , Ro b e rt , 33 1 .

Po gg e n b e e k , G e o g e , r 2 74 . R e i d , S ir G e o g e , 3 1 5 r .

Po i n te li n , 1 8 7 . m ra t
R e b n d v an R y n , 25 8— 2 6 2 .

Po llaju l A t i d l o o, n on o e , 76 . Re n é of An ju o ,
1 54 .

Po llaju l Pi r 7 6 o o, e o, . R e n oi r ,
201 .

Po lyg tus 3 no ,
2 . p
R e i n , 33 8 .

Po n t rm J a p (C
o o, co o a rr u cc i ) ,
1 08 . Re yn o d , S i r l s J s ua o h ,
2 9 8 — 3 00 .

Po o r t W ill m d
er, 6 e e, 2 1 . R ibalta Fra is ,
nc co de , 21 6 .

Po rd G i va ni A
e no n e , o n nt .
,
1 37 . Ri b r a (L
e Sp g o a n ole tt o ) ,
J séo di ,
Po tt r Pa l 6 9
e ,
u ,
2 . 21 7 .

Po u r b Fra s II
u s, 38 n ,
2 . ra R ma
R ib e , 9 o n, 2 1 .

Po u rb u s , Pe e t er , 237 . R ib t A ugus t i T h d
o ,
n eo ul e , 1 98 .

Po uss i G aspa rd (D gh t)
n, u e ,
1 59 . R i ha rd s W illi am T 3
c ,
.
,
25 .

P uss i
o N i l as
n, 58 59 co ,
1 -
1 . R i ha rd s
c J 98 on , .
,
2 .

Pra dill a Fr a i s 8 ,
nc co , 2 1 . Ri M a rti
co , 9 n, 2 1 .

Pr a tt M 3 ,
.
,
20 . Rig aud H y a i th ,
6 c n e, 1 2 .

P i t li A d r a
re v a ,
n e ,
1 01 . Ri A t i
n co n , 8 n on o , 2 0 .

Prev s t J a
o 9 ,
e n, 2 2 . R ing . 3 39 .

Pri ma t i i Fra s cc o ,
4 n c e co , 1 1 . a
R ipp l-Ro n i , 3 3 8 .

Pr t g
o o s 36 e ne , . Rob e rt l ur J s ph N i l as
F e y, o -
e co ,
1 78
Pr u t S amu l 3
o , e ,
1 1 . R ob e rt H ub rt 6 6
,
e ,
1 .

Pru dh Pi rr Paul
on , 7 e e ,
1 1 -
1 72 . Rob e rt i ,
E r l co e , 84 .

Pulig o , D o m , 1 08 . Rob in s on , T h e o do r e, 33 4 .

Pu vis d e C h ava n ne s ,
Pie rr e, 1 94 . R och e , A lx e .
, 31 6 .

R och e g ro sse , G eo g e , 1 9 5 r s .

Q UE LLE N ,
E
( 4 243 . Ro e las , n de ,
213 Jua l as .

R o h de , 33 9 .

R A E BU R N , S i r H e n y , 3 0 1 r . ll l r
R o , A f e d Ph i i l pp e, 1 99 .

Ra fla e lli , e n F n co i , 2 0 1 Ja ra s . Ro ma n i no , G i r l am o o B r s ia
e c no , 1 39 .
 IN D E X 35 5

R o mb o u ts , Th od re 44 e o ,
2 . S chi n d l er ,
E .
, 33 7 .

Ro m y G rg 3
ne ,
eo e, 00 . S ch i sch ki n , 33 8 .

di lli N i l rr
‘

Ro n ne ,
cco o , 1 0 1 . S ch n o v o n Kar olsfeld , J .
,
29 1 .

Ro sa S al va t r 4 8
,
o ,
1 . S ch ofie ld , W . E .
, 33 5 .

Ro ss lli C si m 79
e ,
o o, . S ch on g au r e ,
M a rtin ,
2 84 .

Ro ss tti G ab ri l Charl s D a t
e ,
e e n e, S ch ii chli n , H a s n ,
285 .

31 1
—
31 2 . S ch ut C ,
o ne r li s ,
243 .

Ro ss o Fio r ti en n o , 1 08 . Sc h wa ig r e , 33 7 .

J ha
R o t t e nh amm e r , o nn , 2 8 9 . S c o r el , Jan van , 2 5 5 .

Ro uss au Th e d r 8 5
e ,
o o e, 1 . S eg a tin ni , Gio va nni , 1 51 .

Ro y b t F r diea d 9 8,
e n n ,
1 . Se gh rse ,
G .
,
243 .

R oym ers w ael, 231 . S ellajo , Jac d el .

, 78 .

Rub s P t r Paul
en ,
e e ,
2 4 0— 2 4 5 . S e m i t e c olo , N i cco l o, 95 .

R i sda l J a b
u e ,
co v an , 2 6 8 . Ser ap i 4 on , 2 .

R ui s d a l S a l m e ,
o on van , 2 6 7 . S s t C sa r d
e o, e e a, 1 1 9 .

R y ck ae r t , 24 7 . Sh a J J
nn o n , . .
, 33 2 .

Ry d e r A lb rt
,
e , 329 . Sh i nn , E .
, 33 5 .

S h i rla w , W alt r 33 e ,
1 .

S AB B A TIN I (A n dr e a d S al r ) a e no ,
1 1 4 . Sh urtl e ff ,
R sw ll M o e .
, 3 34 .

S ala i n o (A n dr e a S a l a ) il 9 , ,
1 1 . S i b e r e ch t s , 245 .

S alm son , 3 4 0 . Sic k rt e , W .

, 31 6 .

S al v at ra s R ssi 44
i i , F n ce co o ,
1 . S ig alo n , X avi r e ,
1 78 .

Sa h nc C ll Al
ez- 9 oe o, o nz o , 2 0 . Sig n o r lli Lu a
e ,
c ,
81 .

Sa no di Pi tr 6 6 e o, . Si mm s E d wa rd E
on , .
, 33 1 .

S a ti G i va
n ,
i 8 o nn ,
2 . S im tti A ttili 5
on e ,
o, 1 1 .

Sa i R apha l S i m y 33 7
“
nz o S . ee e . on ,
.

S a rg t J h S 3 9
en ,
o n .
,
2 . S i s l y A l fr d
e , 3 e ,
20 .

S a rt A dr a (A g l i ) d l
o, 7
n e n e e ,
10 . S k r e d svi g , 34 1 .

S ass tt a 6 6
e ,
. l a J
S o n , o h n , 33 5 .

S ass f rr a t (G i v Ba tt i s t a S a l v i )
o e o o .
, S m dl y e e ,
W ill i am T .
, 33 1 .

il , 1 46 . S mi b e r t , J oh n , 31 9 .

S av rye ,
245 . l
S ne l , H e n y B , 335r . .

S a v old o , G i o va nn i r l am 3 9
Gi o o, 1 . rs ra
S n y de , F nz , 2 4 5 .

S ch do a w ,
r
F i e dr i c h W ilh lm e vo n , S o do ma
(G io A n t B v . . a z m) II 1 21 .

291 . So l a ri o, A nd ra e (d a M il a n o ) ,
1 1 9 .

a
S ch ff n e r ,
M arti n , 2 85 . So l m
o on , S J . .
, 31 6 .

S ch alck e n , G o d fr ie d , 26 2 . S O p o Hs , 4 2 .

S ch a tt e n st e i n , 33 7 . So o , or ll a J a qui n, 2 1 9 .

S ch au ff e le i n , H n a sL eo nh a rd t ,
2 83 . S pag a L (G i va
n ,
o o nni d i Pie tr o ) ,
84 .

Sc h e ff e r ,
A ry , 1 78 . Sp H a rry 3 6
ence , ,
1 .

S chi av on e , A nd ra e ,
1 38 . S p i ll A r t i
ne 63 o e no , .
35 6 I ND EX
S p ra ng e r ,
B a rth l m us 3 8 o o e ,
2 . T i m a n th e s , 3 5 .

S q u a r c io n e , Fr a s 88 n ce c o , . t r tt J a p
T i n o e o ( co o Ro b us ti) ,
il , 1 32
S ta rk , 30 7 . 1 34 .

S t a rn i n a , G h e ra rd o, 66 . t a (Ti i
Ti i n z a no Ve ce lli ) , 1 30
—
1 32 .

St ee n, Ja n 2 6 4 ,
. Ti t E tt r
o, o e, 1 5 1 .

St ee r ,
P W 316 . .
,
. T o cq u e , 1 64 .

St ef a d Z vi 9
no a e o, 0 . r
T o bid o , F ra s (il M r )
n c i co o o ,
1 40 .

St e v rs 3 4
e on , 2 . T o ulm o u c h e , A ugus t 98 e, 1 .

St e v s A l fr d 4 9
en ,
e ,
2 . To ussa i t d n u Br uil 57 e ,
1 .

St e wa rt Julius L 33 ,
.
,
2 . Tra i i 6 5
n ,
.

St one , 2 9 8 . T ri s t a Luis n, ,
21 1 .

St o ry J 3 3,
.
,
2 . T r y Fr a c i s d
o ,
n o e, 1 60 .

St o th a rd T h mas 3 ,
o ,
05 . Tr y o C sta t
on , on n ,
1 88 .

St o tt E d wa rd 3 5
, ,
1 . T r ub n er ,
'

2 93 .

S tr ig l B r a r d
e 86
,
e n ,
2 . T rumb ll J h 3 u ,
o n, 21 .

S tr m 34
o ,
2 . T ry D w ig h t W
on , .
, 33 4 .

S tua rt G il b rt 3 ,
e ,
21 . T uk H S 3 6
e, . .
,
1 .

S tu k Fr a
c 93,
nz , 2 . Tur a C s i m 84
,
o o, .

S ll y T h mas 3 3
u ,
o ,
2 . T ur r C Y 3 3
ne ,
. .
,
1

S u st e r m a n , 245 . Tur r J s p h M
ne ,
o e a llo r d W illi am ,

S wa J n, . M .
, 31 5 .
3 09
-
31 1 .

S w a n e n b u rc h , J ak ob Isaaks v an T u xe n , 33 9 .

25 8 . T w a ch t m a n , Jh o n H .
, 3 34 .

S w e e r ts, M .
,
2 64 .

Sy m s on ,
G .
, 335 . UC C E LL O , P al o o, 76 .

Ud e n , Lu as c va n , 2 44 .

T A RB E L L , E d mu d C 33 n .
,
1 . h
U de , F i rt z vo n , 2 9 3 .

Ten i r s (t h Y u g r) D av id
e e o n e , ,
2 46 .

Te rb r h G ra rd 6 6 3
o c ,
e ,
2 2- 2 . VA E N I U S , O tt o, 237 .

r t 34
T h a u lo w , F i z, 2 . V al ti en n, Le, 1 48 .

T h a y r Abb tt H
e ,
o .
, 33 0 . Va lk e n b e rg h , L . va n , 2 38 .

Th e g e r s t r Om , R .
, 34 1 . Va n Be e rs , Ja n ,
2 49 .

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r n o n y , 2 4 2 —2 4 3 .

Tho ma ,
H a s n ,
293 . Va n D y c k h ilip , 2 72 .

Th o r nh i ll ,
S ir J .
,
298 . Va nM c ar k e, Em il ,
1 88 .

T h u ld e n , T . va n , 2 4 4 . Va i A dr a
nn ,
n e ,
65 .

k
T ic y , 3 3 7 . Va rg as Luis d ,
e, 2 1 3 .

T id e m a n , 3 4 1 . Vasa ri G i rg i ,
o o , 1 4 3— 1 4 4 .

T ie pl o o, G io va n ni a ttis taB ,
1 4 8 -
1 49 . Va s n e zo v , 33 8 .

Ti e pl o o, G io va nn i D m i o e n co , 1 49 . V ass l v
i ie , 3 3 8 .
35 8 IND E X
W rig h t J o s e p h 3 2 0
, ,
. Z e i tblo m , Ba r th o lo m a us , 285 .

W right o f D e rb y 3 0 1 , . Z e n a le , Be r a rd
n o, 86 .

W ur m se r N i col aus 2 79
, ,
. Z eux is 3 4 3 5
,
—
.

W y a n t A l e xa n d e r H 333
,
.
,
. Z ie m 8 ,
1 0 .

W y ll i e W L 3 1 5
,
. .
,
. Zo pp o M arco 8 9
, , .

W y na n ts Ja n 2 6 8
, ,
. Z o rn A d e r s 3 4
,
n ,
1 .

Zu ca ro Fe de rigo 4 4
c , ,
1 .

Z AH RTMA N N , 339 . Z l o a g a I g n a cio 9

u , ,
21 .

Z ama coi , E d s do , ua r 21 9 . Zurb ara Franci sco d e

n,
,
21 5 .
 IS
' ’

TH I S B O O K D U B O N TH E L A S T D A TE
S TA M P E D BE L O W

A N I N I TI A L F I N E O F 2 5 C E N T S
W ILL B E A S S ES S ED FO R F A I L U R E To R ETU R N
T H IS BO O K O N TH E D A TE DUE . T H E P E N A L TY
W I L L I N C R EA S E T O 5 0 C E N T S O N T H E F O U RT H
D A Y A N D To O N T H E S EV E N T H DA Y
O VE R DUE .