SIX CENTURIES OF PA I N T I N G potx

S I X C E N T U R I E S O F P A I N T I N G LONDON : T. C. & E. C. JACK 67 LONG ACRE, W.C., AND EDINBURGH CONTENTS TUSCAN SCHOOLS— PAGE I. GIOVANNI CIMABUE 1 II. GIOTTO DI BONDONE 10 III. THE EARLIER QUATTROCENTISTS 18 IV. THE LATER QUATTROCENTISTS 26 V. LEONARDO DA VINCI 33 VI. MICHELANGELO BUONARROTI 40 VII. RAFFAELLO DI SANTI 47 VENETIAN SCHOOLS— I. THE VIVARINI AND BELLINI 59 II. TIZIANO VECELLIO 78 III. PAOLO VERONESE AND IL TINTORETTO 99 SPANISH SCHOOL— 109 FLEMISH SCHOOL— I. HUBERT AND JAN VAN EYCK 121 II. PETER PAUL RUBENS 143 III. THE PUPILS OF RUBENS 157 DUTCH SCHOOL— I. FRANS HALS 165 II. REMBRANDT VAN RYN 171 III. PAINTERS OF GENRE 183 IV. PAINTERS OF ANIMALS 191 V. PAINTERS OF LANDSCAPE 202 GERMAN SCHOOLS— 211 FRENCH SCHOOL— I. THE SEVENTEENTH CENTURY 225 II. THE EIGHTEENTH CENTURY 235 THE ENGLISH SCHOOL— I. THE EARLY PORTRAIT PAINTERS 251 II. WILLIAM HOGARTH 258 III. SIR JOSHUA REYNOLDS AND THOMAS GAINSBOROUGH 267 IV. THE CLOSE OF THE EIGHTEENTH CENTURY 295 THE NINETEENTH CENTURY— I. THE SPIRIT OF REVOLT 305 II. EUGÈNE DELACROIX 309 III. RUSKIN AGAINST THE PHILISTINES 313 IV. MANET AND WHISTLER AGAINST THE WORLD 324 V. THE ROYAL ACADEMY 329 INDEX 335 LIST OF ILLUSTRATIONS VITTORE PISANO (called PISANELLO)—St Anthony and St George Frontispiece National Gallery, London PLATE FACING PAGE I. FILIPPO LIPPI—The Annunciation 22 National Gallery, London II. SANDRO BOTTICELLI(?)—The Virgin and Child 26 National Gallery, London III. SANDRO BOTTICELLI—Portrait of a Young Man 28 National Gallery, London IV. SANDRO BOTTICELLI—The Nativity 32 National Gallery, London V. LEONARDO DA VINCI—The Virgin of the Rocks 36 National Gallery, London VI. PIETRO PERUGINO—Central Portion of Altar-Piece 50 National Gallery, London VII. RAPHAEL—The Ansidei Madonna 52 National Gallery, London VIII. RAPHAEL—La Belle Jardinière 52 Louvre, Paris IX. RAPHAEL—Portrait of Baldassare Castiglione 56 Louvre, Paris X. CORREGGIO—Mercury, Cupid, and Venus 58 National Gallery, London XI. ANDREA MANTEGNA—The Madonna della Vittoria 68 Louvre, Paris XII. GIOVANNI BELLINI—The Doge Loredano 72 National Gallery, London XIII. GIORGIONE—Venetian Pastoral 78 Louvre, Paris XIV. TITIAN—Portrait said to be of Ariosto 84 National Gallery, London XV. TITIAN—The Holy Family 86 National Gallery, London XVI. TITIAN—The Entombment 88 Louvre, Paris XVII. TINTORETTO—St George and the Dragon 102 National Gallery, London XVIII. VELAZQUEZ—The Infante Philip Prosper 112 Imperial Gallery, Vienna XIX. VELAZQUEZ—The Rokeby Venus 118 National Gallery, London XX. MURILLO—A Boy Drinking 120 National Gallery, London XXI. JAN VAN EYCK—Jan Arnolfini and His Wife 128 National Gallery, London XXII. JAN VAN EYCK—Portrait of the Painter's Wife 132 Town Gallery, Bruges XXIII. JAN MABUSE—Portrait of Jean Carondelet 136 Louvre, Paris XXIV. SIR PETER PAUL RUBENS—Portrait of Hélène Fourment, the Artist's Second Wife, and two of Her Children 150 Louvre, Paris XXV. FRANS HALS—Portrait of a Lady 168 Louvre, Paris XXVI. REMBRANDT—Portrait of Hendrickje Stoffels 176 Louvre, Paris XXVII. REMBRANDT—Portrait of an Old Lady 182 National Gallery, London XXVIII. TERBORCH—The Concert 186 Louvre, Paris XXIX. GABRIEL METSU—The Music Lesson 188 National Gallery, London XXX. PIETER DE HOOCH—Interior of a Dutch House 190 National Gallery, London XXXI. JAN VERMEER—The Lace Maker 192 Louvre, Paris XXXII. "THE MASTER OF ST BARTHOLOMEW"—Two Saints 212 National Gallery, London XXXIII. HANS HOLBEIN—Portrait of Christina, Duchess of Milan 224 National Gallery, London XXXIV. ANTOINE WATTEAU—L'Indifférent 236 Louvre, Paris XXXV. JEAN-BAPTISTE GREUZE—The Broken Pitcher 244 Louvre, Paris XXXVI. JEAN HONORÉ FRAGONARD—L'Étude 248 Louvre, Paris XXXVII. HANS HOLBEIN—Anne of Cleves 256 Louvre, Paris XXXVIII. WILLIAM HOGARTH—The Shrimp Girl 260 National Gallery, London XXXIX. SIR JOSHUA REYNOLDS—Lady Cockburn and Her Children 274 National Gallery, London XL. SIR JOSHUA REYNOLDS—The Age of Innocence 284 National Gallery, London XLI. THOMAS GAINSBOROUGH—The Market Cart 290 National Gallery, London XLII. GEORGE ROMNEY—The Parson's Daughter 298 National Gallery, London XLIII. GEORGE ROMNEY—Mrs Robinson—"Perdita" 300 Hertford House, London XLIV. JACQUES LOUIS DAVID—Portrait of Mme. Récamier 306 Louvre, Paris XLV. EUGÈNE DELACROIX—Dante and Virgil 310 Louvre, Paris XLVI. JOHN CONSTABLE—The Hay Wain 312 National Gallery, London XLVII. J. M. W. TURNER—Crossing the Brook 316 National Gallery of British Art, London XLVIII. ÉDOUARD MANET—Olympia 326 Louvre, Paris XLIX. J. M. WHISTLER—Lillie in Our Alley 328 In the possession of John J. Cowan, Esq. [...]... In Italy in the thirteenth century, as in Spain in the seventeenth, it meant the Church of Rome In Germany of the sixteenth, as in England in the eighteenth, it meant something totally different To put it a little differently, all painting that is worth so calling has been done to the glory of God; and after making due allowance for human frailties of every variety, it is hard to say that among all the... on the popular imagination of the English that its influence is difficult to dispel; but there are many signs that its baneful ascendency is at length on the decline; and it is well known that the National Gallery is attracting more and more visitors and Burlington House less and less as the years go on In the following attempt at a general survey of the history of painting—imperfect or ill-proportioned... soil Third, the imitation of nature Fourth, the approbation of the public—there we have the four cardinal points in the chart of painting It would be easy enough to contend that painting had nothing whatever to do with religion—if only by reference to the godless efforts of some of the modernists; but such a contention could only be based on the imperfect recognition of what religion actually means In... and though containing the germ of the future development of the art, is yet without any of the glory which in the fulness of time was to result from it To Giotto, Vasari considers, "is due the gratitude which the masters in painting owe to Nature, seeing that he alone succeeded in resuscitating art and restoring her to a path that may be called the true one; and that the art of design, of which his... undreamt of by its earliest pioneers IV THE LATER QUATTROCENTISTS THREE names stand out conspicuously from the ranks of Florentine painters in the latter half of the fifteenth century But progress being one of the essential characteristics of the art at this period, as in all others, it is not surprising that the order of their fame coincides (inversely) pretty nearly with that of their date First, ANTONIO... work in this chapel, and there is good reason to believe that Michelangelo and Raphael profited by their studies there, without mentioning all the names enumerated by Vasari Seeing how important the influence of Masaccio was destined to become, I have ventured to italicise Vasari's opinions on the causes which operated in creating the Florentine style and in raising the art of painting to heights undreamt... do not admit of the exhibition of his higher and most original gifts Two signed examples are a Coronation of the Virgin in Santa Croce at Florence, and aMadonna, with saints and angels on the side panels, originally in S Maria degli Angeli at Bologna, and now in the Brera at Milan The latter, however, is not now recognised as his The earliest authentic example is the so-called Stefaneschi altarpiece,... Netherlandish school—as we shall see in a later chapter—developed this characteristic to a far greater extent, continuing the tradition handed down, quite independently of Giotto, through illuminated manuscripts, and with less of that expression of the highest religious or moral feeling which is so evident in Giotto The few existing altar-pieces of Giotto are less important than his frescoes, inasmuch as they... growth, though not till considerably later were the northern schools capable of sustaining the reputation given them by the Van Eycks and Roger Van der Weyden But for the effects of the Renaissance in Italy in the fifteenth century it is questionable whether painting would ever have spread as it did in the sixteenth and seventeenth to Spain and France But by the close of the fifteenth century such enormous... Job, in a series of paintings which were formerly attributed to Giotto himself, though it is now recognised that they cannot be of an earlier date than about 1370 The Temptation of Job is by Taddeo Gaddi, and the others, painted in 1372, are probably by Francesco da Volterra—not to be confused with the sixteenth century painter Daniele da Volterra The paintings on the west wall are of inferior workmanship, . into the Borgo Ogni Santi. On the front of this building, which has the principal door in the centre, he painted the Virgin receiving the Annunciation. century, as in Spain in the seventeenth, it meant the Church of Rome. In Germany of the sixteenth, as in England in the eighteenth, it meant something