The Masterpieces of Painting in The Louvre (Art Ebook)

MAURICE SERULLAZ
THE MASTERPIECES
OE PAINTING
irV THE EOXJVRE
1. 1
^ Jm§
HACHETTE
-^^--"^•^
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THE MASTERPIECES
OF PAINTING
IN THE LOUVRE
MAURICE SERULLAZ
THE MASTERPIECES
OF PAINTING
IN THE LOUVRE
HACHETTE
Tous droits de traduction, de reproduction
et d'adaptation reserves pour tous pays.
© Librairie Hachette, 1961.
INTRODUCTION
Maurice Serullaz, himself a painter, is keeper of the

valuable Edmond de Rothschild collections of engravings
and drawings in the Louvre, Professor of the History of
Art at the Ecole du Louvre, and also directs a course in
French Civilization at the Sorbonne.
The ten books already published, which constitute his

work as an art historian, are proof of his wide range of
knowledge.
Having begun his literary career at an early age, Maurice

Serullaz attracted the attention of the critics before the
war with his much praised analysis, Dessins de Corot,
followed shortly by a study, Dessins de David,
5
After the war, he gave proof of both his erudition and
his artistic sensitivity in a series of works, of which the
most recent, a long-awaited study of Degas s painting,
illustrates the combination of a taste for fine drawing with
an elegant wit, in the style of Faillon.
In his Evolution de la peinture espagnole, published in

1947, Maurice Serullaz gave a rapid survey of the develop-
ment of a national school, from its origins to the present
day. In this volume, of which every page is packed with
information, the author borrowed a concept from Taine,
which he applied in detail to his theme, namely, that artists
of' any one nation are almost all subjected to the same irresist-
ible laws imposed on their nature by their heredity and
environment.
In the present work, Serullaz treats a much wider

subject, giving a conspectus of painting in Western Europe,
as reflected in the Louvre collection.
Without any formal dedication, this work is a tribute

to the living reality of the European School.
By juxtaposing canvases of different schools and periods

of art, the author emphasizes their common heritage. To
he includes almost 300 reproductions,
illustrate this point,
chosen as the most relevant to his theme and not always
from amongst the most familiar.
6
Maurice Serullaz did not intend English Title to be
a comprehensive study, but, nevertheless, it opens up vast
horizons to the reader.
His work will be given the worthy place it deserves among

the literature of the history of art.
Edmond Sidet,
Diredeur des Musees de France

et de VEcole du Louvre.
N. B. — The size of each painting is indicated in brackets after the name. The following abbrevia-
tions are used: h: high; b: broad; C: canvas; W: wood.
ITALIAN SCHOOL
RIGHT UP until the thirteenth century,

Italian art was closely dependent on
Byzantine tradition. The work of
Cimahue, who, in Florence, attempted a rather
timid reaction by presenting more lifelike
figures in freer attitudes, remains somewhat
hieratical. However, at the end of the thir-
teenth century and beginning of the fourteenth,
Giotto, also a native of Florence, made his
appearance as the great reformer of the
world of painting. He deliberately broke
off with most Oriental traditions and turned
more towards Antiquity. He preferred ba-
lanced compositions FRA ANGELICO.— Angel in
with ample forms and adoration (15 h, 10 b, W).
was one of the first Giraudon.
who succeeded in de-

fining volume in space. Although his work has a
profound spiritual quality, is not devoid of realism.
At the same epoch, the Siena painters remained
more attached to Byzantine traditions. However,
the works of Duccio and Simone Martini show an
almost Gothic preciosity.
Apart from Florence and Sienna, numerous local
schools (the Marches and Emilia, Lombardy,
Padua and Verona, Venice, etc.), each had their
own particular style but were linked together by the
movement founded by Giotto under the impulsion of
mendicant and preaching orders.
the great
The Renaissance appeared in Italy as early as
the beginning of the fifteenth century, about a
hundred years earlier than in other European
countries. The first place amongst the peninsula's
CARLO CRIVELLI (1430 ?-i495 ?).— Saint James of

Marche (77 h, —
24 b, W). Giraudon.
different schools was still held by intellectual
Florence. Fra Angelico, who lived at the begin-
ning of the Quattrocento (fifteenth century ) was ,
stillimpregnated with the spirit of the Middle Ages.

A monk himself, he carried on the monastic tra-
dition of illumination, transposed and enlarged
to the dimensions of his panels and frescoes,
Masaccio, Uccello, Piero della Francesca and
Andrea del Castagno, on the contrary, gave to
their art, under the influence of sculpture,
a realism, a monumental ampleness, a sense of
and perspective of which Giotto
'Spiritual values
had already had a presentiment. Ghirlandajo
and Benozzo Gozzoli, less intellectual and less
daring in their conceptions, were narrators who
sometimes delighted in a more anecdotical style.
At the end of the fifteenth century, Florence
was at the height of its artistic development: the
Lippis and Botticellis had finally removed all
traces of medieval tradition and humanism
triumphed quite openly. Botticelli, torn between
the Christian ideal and relics of paganism, brought
into Italian art a dreamy melancholy, hitherto MANTEGNA.— Saint Sebas-
unknown. His style with its exacerbated man- tian (102 h, 58 b, C).—
nerism is typical of the intellectualism then in Hachette.
vogue in Florence.
At the same epoch in Padua, Andrea Mantegna was drawing his inspi-
ration both from ancient statuary and Nature; a realist, but nevertheless a
visionary, he combined all the tendencies of the Quattrocento. At Ferrara,
Cosimo Tura was best representative of a school with sensitive style born
from Germanic influences.
Finally, in Venice, Jacopo Bellini, whose solid and extremely realistic art
isbased on the rigorous observation of Nature, still recalls Byzantium in some
measure; his son. Gentile Bellini, was also attracted by the Orient. Vittore
Carpaccio liked more narrative, picturesque compositions with oriental
touches. The Crivelli and the Vivarini should also be mentioned heralding,
Giovanni Bellini.
together with the above artists, the advent of This latter.
Gentile'syounger brother, was influenced by Mantegna and practised oil-
painting, which art Antonello da Messina had imported into Italy from
Flanders. His art is versatile and full of nuances.
The second Renaissance, developing in Italy in the flrst third of the
sixteenth century, reached perfection with a few great geniuses whose
influence surpasses their own times to
continue right up until today.

The most exceptional of them was
Leonardo da Vinci who, although he has
not been copied and studied as much
as Raphael and Michelangelo over the
centuries, nevertheless discovered the
essential principle of painting which his
predecessors had already foreshadow-
ed: the sense of values obtained by the
famous 'sfumato' (clear obscure) : he
succeeded in transposing volume and
space on to aflat surface.
In Umbria, Perugino cleared the
way for his pupil of genius, Raphael
Sanzio, who realized the ideal of har-
mony sought by Italian artists for two ANDREA SOLARIO (1460-1520?;
hundred years. He reconciled pagan —The Virgin with the Green Cushion
and Christian sources in his huge (24 h, 20 b, W).— Hachette.
decorative piece for the Stanze —or
—
rooms at the Vatican, the two most famous frescoes of this work being
the School of Athens and the Dispute of the Holy Sacrament.
As well as being one of the greatest sculptors of these times, Michelangelo
stands high in the history of painting with his grandiose frescoes for the
Sistine Chapel, and he exercised a very
great influence. His titanic, violent art
is a direct prelude to the baroque style.
At Parma, Allegri, known as II
Correggio, succeeded in combining ele-
ments drawn from the great geniuses
immediately preceding him, and thus
created a voluptuous art permeated
with melancholy.
Although Venice was moving to-
wards a political decline, the sixteenth
century may be considered as the
most brilliant in the history of its art.
Giorgione, who died very young, was
the master of Titian. In his both
„ „^^^,^ „, ,, ., naturalist and realist works, the land-
IL CORREGGIO.—The
.
Mystic Mar- , r j ^
riage of Saint Catherine of Alexandria
^^^^^ "^ longer played a mere secondary
(41 h, 40 b, W). — Giraudon. role as decoration or background but
10
came into its own right through this observer
who '
sees '
the play of light and shadow.
He divided his figures up into living groups
and abandoned a too arbitrary composition.
His pupil of genius, Titian, managed to
combine with these qualities a sense of balance
and harmony of rhythms rarely encountered
in Venetian circles. Yet, he was more espe-
cially interested in rendering spiritual sub-
jects by analysing human feelings. Health
and plenitude are the most dominant qual-
ities of his work. Being skilled at handling
colour, he had a determining influence on
artists who tried to express themselves through
this medium and notably on Rubens, Watteau
and Delacroix.
Caliari, known as Paolo Veronese, depict-
VERONESE.— Calvary (40 h,
ed the declining pompof Venice. A
painter 40 b, C). —Giraudon
of joy and life, he was also a master of colour
and but his vast religious compositions are devoid of all mystic sen-
light,
timent; picturesque materialism, often a little theatrical, delighted him.
Jacopo Robusti, known as Tintoretto, was what Baudelaire might have
TITIAN. —Jupiter and Antiope (77 h, 152 b, C). — Giraudon.

II
called 'passionately in love with passion*. This master, both realist and
visionary, was one of the first before Caravaggio to seek unusual lighting
effects. He overturned the conventional 'canon' of classical beauty,
deforming and elongating the bodies, and opposing real and phantom-like
figures; his infiuence was later felt especially by El Greco. His masterpiece
is the whole of the religious decorations for the Scola di SanRocco in Venice.
Realism and luminism also made their appearance before Caravaggio

in the art of Bassano who worked in
Venice and created biblical composi-
tions peopled with figures and animals
of a rustic character not very often
seen in Italy.
In the second half of the sixteenth
century, mannerism triumphed; the
secondary painters who frequented
the masters mentioned above were
strongly infiuenced by these latter and
tried to penetrate their work with their
masters' 'manner'. Their art often
remains common-place and lacks orig-
inality. As Romain Rolland very
justly said, 'From then on, Italian
art fioundered in an excess of intellec-
tualism.' one of the
Nevertheless,
natives of Florence, Bronzino, man-
aged to preserve a very personal
elegance in his admirable portraits
BARROCCI (1528 ?-i6i2).— The Cir-
cumcision (148 h, 99 b, C). —
Alinari-
despite some affectation, but without
Giraudon. ever attaining the high spheres of the
preceding artists.
Federigo Barrocci, a compatriot of Raphael, was the renovator of Christian
art in the spirit of the Council of Trent. A delicate colour ist, Barrocci
created a sensitive art, similar to Corregio's.
Bologna, a big University town, had played only a secondary role
hitherto; from now onwards, it was to count amongst the big Italian schools.
A new form of teaching based on eclecticism was started by the Academia
degli Incaminati (the advanced) , the first art school, which the Carracci
founded in IS^S- The pupils were no longer taught by one master only, but
received their education by studying the principal geniuses of preceding
generations , borrowing from each the essential characteristics of his style.
The renown of the Carracci spread beyond Bologna. Their masterpiece,
the huge decoration for the Farnese Gallery in Rome, provided a source of
12
inspiration for most contemporary and future decorators not only in Italy
but throughout Europe.
The principal emulators of the Carracci at Bologna were Guido, II
Domenichino and Guercino.
But the art of certain painters of the Bolognese school was becoming edul-
corated; there had to be a reaction against this. One man led the reaction
in a somewhat revolutionary and wholly plebeian spirit ; the man was Cara-
vaggio. This latter revolutionized the art of painting by an esthetic and
a technique already to be seen in certain of his predecessors but that he applied
systematically and forcefully. As for his technique, the clear-obscure, it
consists of seeking vigorous contrasts of light and shade which bring out
and create a dramatic atmosphere of great force. First of ally people were
shocked by this dynamic, anti-humanist art of crude realism but it finished
by imposing itself^ and Caravaggio's influence spread first throughout
Italy and then throughout Europe.
In the eighteenth century, the part played by Italy in the history of Euro-
pean painting was only a minor one. Venice alone managed to recapture
some of her former grandeur.
However, in Genoa, Magnasco gave birth to a pathetic, fantastic world
which is somewhat related to Goya's. Then, in Rome, Pannini inaugurated the
painting of ruins destined for such long
popularity. But the first real great Italian
painter appeared in Venice: Giambat-
tista Tiepolo continued the tradition of the
Venetian masters of the Renaissance. He
excelled in ceiling painting in particular,
calling to life in Venice, Madrid, or
Wiirzburg the pomp and carefree spirit of
this century. His son, Domenico, treated
burlesque Carnival scenes ^ whilst Pietro
Longhi,like the French Lancret, portrayed
the everyday life of the Venetian people.
In the sphere of landscape painting,
Canaletto and Guardi managed to recreate
the atmosphere peculiar to Venice; the first
depictedthebuildings of Venice, after much
rigorous observation, whilst the second
captured the iridescent light with its
pearly reflections on water, in a manner
that makcs US think of Corot.
TT
IL /-AOAxrA/-r^T/^
CARAVAGGIO. — r. ^ -^
Portrait
r
of ^ . , . . , , .
* . ,
Alof of Wignacourt (77 h, 53 b, C). P^^^^^ ^^^^^ ^^ "^

4/^^'' ^^^^ ^^/zer talent
— Giraudon. worth mentioning in Italy,
13
CIMABUE. 1240 (?)-i302. — In the second
4^f) half of the thirteenth century,
the
Cimabue made
attempts at liberating Italian art from
first
Byzantinism. His Virgin with the Angels still
<t v©b «'.

has a certain hieratic rigidity, however. The
long drawn out figures and pointed fingers,
together with the rather stiff composition, all
seem to belong to the Byzantine tradition.
But the way in which the Madonna's head is
slightly inclined towards the Child Jesus and
the then absolutely new idea of painting feeling
and gentleness aroused tremendous enthusiasm.
—
GIOTTO. 1266- 1 337. The real reformer of
Florentine painting, however, was Giotto. His
Saint Francis of Assisi Receiving the Stigmata
was inspired by the life of the Toverello'.
The artist has left masterly frescoes of the
principal episodes of the saint's life at Assisi.
C I M A B U E .—The
—
Reading through the Fioretti or Little Flowers
Virgin
with the Angels (167 h,
— of Saint Francis, it is surprising how faithful
108 b, W).— Hachette. Giotto was to the text. You might almost
say his paintings were illustrations of them.
On the lower part of the panel, the predella,
the artist shows, on the left. Saint Francis,
Rebuilding the Crumbling Church, an entirely
allegorical composition, and, on the right, Saint
Francis Speaking to the Birds, in which the
realism that is so important a part of Giotto's
art is to be seen. In this work, Giotto has
eliminated unnecessary figures and accessory
details, and this gives his composition, in its
architectural spaciousness, exceptional gran-
deur. He contrasts two expressions and two
strikingly symbolical attitudes in a manner
that is quite modern. He had a sense of space
and volume that is amazing for his period.
MARTINI (Simone). 1284-1344. —Simone

Martini, at Sienna, was still very much influen-
SIMONE MARTINI.— The ced by the illuminations of the old manuscripts
carrying of the Cross (10 h,
6 b, C).— Archives Photo-
and his compositions are rather hazier, less
graphiques de France. sculptural, though of exquisite colouring.
14
GIOTTO.—Saint
Francis of Assisi
Receiving the Stig-
mata (124 h, 64 b, W.)
— Hachette.
FRA ANGELICO. —Martyrdom of Saint Cosmus and Saint Damian (i5h, 19 b,W).
Archives Photographiques de France.
FRA ANGELICO. 1387- 1455. —

Fra Angelico's Coronation of the
Virgin is the perfect expression of the artistic ideal of this Dominican
monk who decorated frescoes and painted panels for the convent of San
Marco in Florence. His pictures of Paradise have a mystical serenity
which has but rarely been attained. His pure and candid-faced saints,
radiant with ecstatic joy, his vividly contrasting colours, the blues
especially, which are quite unique in the history of art, all give a picture
of the Paradise of which Dante and the monks and poets of the time
spoke.
The predella tells the story of Saint Dominic's life in narrative style and,
in spite of the small size of the painting, these scenes have an astonishing
spaciousness.
Occasionally Angelico replaced his golden background with a landscape,
that is still conventional and rather decorative, as in the panel of the
Martyrdom of Saint Cosmus and Saint Damian, the refined colours
of which might have come from some old illumination.
16
FRA ANGELICO.— The Coronation of the Virgin (83 h, 82 b. W).— Hachette.
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PISANELLO (Antonio). 1395 (?)-
1450. —Pisanello, who originally came
from Verona, was a painter and
medalmaker, especially interested in
in the beauty of style. His Portrait of
a Lady Presumed to he a Princess of the
House of Este has such pure and severe
features that it brings to mind some of
the schematical forms found in ancient
Egyptian art. He was a great psycho-
logist and obviously loved realism.
Especially he knew how to bring out the
touch of a material —
here a woollen
stuff —
and he loved painting flowers
carnations in this case. On the sleeve
there is also a rose, the emblem of the
house of Este. The juniper branch at
the top of the bodice has made some
people think that the picture is of Gine-
PI SAN EL LO.— Study of Ducks
vra d'Este, but other suggestions have
(drawing) .
—
Hachette. also been made as to the identity of
the model; it may be Margaret of Gon-
zaga, the wife of Lionello d'Este, or one of his sisters, Isotta and Beatrix.
Pisanello was also an excellent draughtsman and has left a number
of incomparable animal studies (often birds ) some of them in delicate water
,
colours. They are in the Vallardi Collection acquired by the Louvre in

1836 (see the Study of Ducks above)
ANTONELLO DA MESSINA.
1430 (?)-i479. —Antonello da Mes-
sina was greatly influenced by the
Flemish masters, and this can be seen
particularly clearly in this Portrait
of a Condottiere in which the use of oil
paint has allowed the artist to portray
a face modelled by the play of light and
shade. Vigorously expressive, it is
very close to Van Eyck's Man with a
Carnation and some of Van der
Weyden's portraits.
ANTONELLO DA MESSINA.— Portrait of

a Condottiere (14 h, 15 b, C). —Giraudon.
20
PISANELLO. — Portrait of a Lady presumed to be a Princess of the House of Este
(17 h, 12 b, W).— Hachette.
—
BOTTICELLI. 1445-1510. Botticelli seems to have been endowed
with a combination of all the qualities of the Florentine School, of which
he was the last great master. The langorous grace of his models with
their mysterious and dreamy expressions, the delicacy of his colours, the
rhythmic harmony of his composition and a style that is both sharp and
sinuous are the essential characteristics of his art.
Not far from Florence, near Chiasso-MocerelH, there is a villa which
belonged to the family of the Tornabuoni, who were related to the House
of Medici. Ghirlandajo and BotticelH were given the task of decorating
the house. In 1873, Doctor Lemmi, whose family had bought the estate
in 1824, noticed traces of paint under the distemper and immediately set
about having them examined, which enabled the two frescoes in very
good condition, today in the Louvre, to be brought to light. Giovanna
Tornabuoni, Venus and the Graces was executed in the loggia of the villa
in 1446, together with another of Lorenzo Tornabuoni and the Liberal
Arts, to commemorate his marriage with Giovanna degli Albizzi.
The bride is offering her veil, it seems, to Venus, surrounded by the
Three Graces. The light and harmonious composition of this very
delicately coloured fresco sets off its charm and poetry.
The Virgin, the Child and Saint John the Baptist are shown before a
rose bush. Here the madonna is no
longer under a dais, but has aban-
doned all court ceremony and is ten-
derly rocking the Child she is holding
upright on her knees.
Botticelli was influenced by the
humanists of his day, and often took
his subjects from Latin or contem-
porary poets; his work is thus often
more mythological and allegorical
than religious. Using the features of
beautiful Florentines, he created a
composite type of woman, partly
madonna and partly Venus, at the
same time both sensual and idealized.
It was confusions of this kind which
brought Savonarola to bear down

upon Florence so angrily in 1491.
Botticelli became a fervent fol-
lower of the Dominican order and
BOTTICELLI.—The Virgin, the Child .^f.„^ c„K
sub-
eventually gave up profane
and Saint John the Baptist (37 h,
27 b, W). — Giraudon. jects.
22
BOTTICELLI. —Giovanna Tornabuoni, Venus and the Three Graces (83 h, 112 b,
fresco ) .
— Hachette.
MANTEGNA. —
The Calvary is the central part of the
1431-1506.
predella of a reredos orderedfrom Mantegna for the church of Saint Zenon
in Verona. The side parts were sent to the museum of Tours (France)
in 1803, where they are still. Mantegna came from Padua and was the
pupil of Squarzione, the great archaeologist, who gave him a taste for
ancient art. An excellent painter and one of the most celebrated Italian
engravers, Mantegna joined a certain naturalism, which he acquired in
Venice, to his symbolical stylization of form.
The faces in the Calvary look almost 'engraved'. The fantastic
landscape with blue-veined pink rock and ancient terraced town on a
its
hill recalls surrealist canvases.
CARPACCIO (Vittore). Mentioned from 1486-1525.— In Venice,

Carpaccio, a great story-teller, was drawn by the light, rich colours,
sumptuous and picturesque qualities of
cloths, the material splendour
life in East (Venice at the time was in close contact with
the
Constantinople and the court of Mahomet II), as his Saint Stephen
Preaching at Jerusalem shows.
CARPACCIO. -Saint Stephen Preaching at Jerusalem Archives

Photographiques de France.
24
MANTEGNA.— The Calvary (26 h, 39 b, W).— Hachette
TURA.— Pieta (52 h, 105 b, W).— Giraudon.
BELLINI (Giovanni). 1430 (?)-i5i6. — Christ Blessing after the

Resurrection is painfully human. The one of the masters of
artist,
Pre-Renaissance Venetian art, has given the sublime and moving face
an attitude of love and charity. The Venetians were great realists, but
—
here the body itself the side with its open wound, the pierced hands and
—
haggard face expresses a deep spiritual meaning. The simplicity of
the gesture, together with the sadness of the expression, which is full of
goodness, make this picture of Christ one of the most powerful ever
painted. There is deep emotion in the pathetic face drawn with suffe-
ring, but the smile is kind and the eyes have great compassion. It has
been said that Giovanni Bellini executed this masterpiece after hearing
Saint Bernardin of Sienna preach at Padua in 1443.
—
TURA (Cosimo). 1430- 1495. Cosimo Tura was born at Ferrara where
he was official painter. A pupil of Squarzione, like Mantegna, he, too,
had a taste for architecture decorated with ancient bas-reliefs, and his
firm drawing, which one might at times go so far as to call incisive, gives
his forms an even more sculptural effect.
'
This Pietd is the lunette '
or upper part of a large altar picture for the bishop of his native town. The
dramatic attitude touches on expressionism.
26
BELLINI. —Christ Blessing after the Resurrection (22 h, 17 b, W). — Hachette.
LEONARDO DA VINCI. 1452-1519.— Forhis
universality and power of creation, Leonardo da
Vinci was one of the greatest geniuses the world
has ever known. Born in the little town of
Vinci, near Florence, Leonardo began by working
with Verrochio; later he practised every form
of art, and philosophy. He revolu-
science
tionized painting with his sfumato which is
' '
much more than light and shade and, in

* '
reality, means the way he shaded off his colours

to bring out the relief of his forms.
His Virgin of the Rocks, of which the National
Gallery in London possesses an original copy
by the artist, is a work full of mysterious poetry
still further accentuated by landscape of wa-
its
terfalls and rocks, which a long way from

is
LEONARDO DA VINCI.— reality, although it is a scientifical composition.

The Virgin, the Child Jesus The Virgin, the Child Jesus and Saint Anne, a
and Saint Anne (67 h, pyramidal composition, like the former, seems
—
51 b, W). Giraudon.
to be symbolic in inspiration, which is very
often the case with Leonardo. The artist seems
to have wanted to portray the triumph of the church in the saint's smile,
while the lamb held by the Child Jesus signifies the Passion; the Virgin's
gesture suggests her desire to save Him from His tragic end, but Saint
Anne, symbolizing the church, prevents her from doing so, in order that
He may fulfill His destiny.
LEONARDO
DA VINCI.—
The Virgin, the
Child Jesus and
Saint Anne
(detail).
— Giraudon.
LEONARDO
DA VINCI.—
The Virgin of the
Rocks (detail).
—Hachette.
LEONARDO DA
VINCI.— The Vir-
gin of the Rocks
(78h, 48 b, C
— Hachette.
The Portrait of Mona Lisa is
probably the most famous picture
in the world. Whether it is really
the portrait of Mona Lisa Gherar-
dini, who was married in 1495 to
the Florentine patrician, Francesco
di Zanobi del Giocondo (whence its
other name of La Joconde or La
Giocon(ia) remains unknown. The
picture may be a personal inter-
pretation in which the artist trans-
formed his model into his own idea
of the Perfect Being. It has been
said to be 'the nearest thing to the
Eternal Woman', 'the work of a
mathematician', 'the ideal union
of science and feeling' and 'an
exact imitation of Nature'. All LEONARDO DA VINCL— Study of
these rather contradictory state-

draperies (drawing). — Hachette.
ments only prove the work's com-
very attached to this picture, for he
plexity. The artist was certainly
took it with him when he went to
France to live at the Chateau de
Cloux, near Amboise, where he
died in 15 19. Many contemporary
copies wefe made of the masterpiece
and many works have been in-
spired by it, the most famous of
these being Corot's Woman with a
Pearl, who has the same attitude
as the Gioconda.
Leonardo was a draughtsman of
genius and left many sketches and
albums. This Study of Draperies,
in a very fine classical style, has
the relief of an ancient sculpture.
LEONARDO DA VINCL—
Portrait ofMona Lisa (La
COROT. —Woman with a Pearl Gioconda) (3oh, 21b, W).
21 b, C). —Bulloz. Arts graphiques de la Cite.
30
^:<'(^^y
*^
PERUGINO. 1450-1523.—
Vannuci, an Umbrian painter,
better known as Perugino, was
II
the master of Raphael. Italian

artists often painted on circular
panels called tondi. According to
Venturi, the tondo in the Louvre
representing The Virgin, the Child
Jesus, Saint Catherine, Saint Rose
and Two Angels resumes all the
religious compositions of Perugino.
The latter, who had a suave, langor-
ously graceful manner, used round-
ed forms and gentle faces, calm ex-
pressions, with rather soft attitudes
for his figures and these, together
IL PERUGINO. — Virgin and Child
(diameter 59, W). — Hachette. with his symmetrical and harmoni-
ous composition, pleased Raphael.
RAPHAEL. i483-i520.~Raffaello Santi or Sanzio, celebrated as
Raphael, was born at Urbino. Previous to the vast decorative panels
painted in Rome, these frescoes of the Vatican are the most perfect
expression of the ideal dear to the artists
of the Renaissance. It was in Florence
that Raphael evolved his type of
madonna with a pure, oval face and an
impersonal idealized expression like a
Greek statue, one of the best examples
of which is the Belle Jardiniere. To
Raphael and, indeed, to all the Renais-
sance artists, the Virgin was no longer
a supernatural being, but a real mother,
smiling and attending to her new born
child. Often Raphael's madonnas have
a rather rustic opulence, whence the
name —
one the Belle Jardiniere.
of this
The has inscribed his figures in
artist
—
a triangle the pyramidal composition
was his favourite method.
The drawings of Raphael have a
graceful robustness, like this study of
Psyche and Venus for his decorations RAPHAEL.— Psyche and Venus
at the Farnesina in Rome. (drawing). —Giraudon.
32
RAPHAEL. —La Belle Jardiniere
(48 h, 31 b, W).— Hachette.
IL CORREGGIO. 1489-1534.-11
was in Emilia and, even more, in
Parma, that the genius of Antonio
Allegri, famous as II Correggio, was
to reveal itself. His delicate sen-
suality, vaporous and slightly man-
nerized grace and the 'suave and
tender' shading of which Stendhal
spoke, can be seen in the Sleep
of Antiope. For the dreamy faces
of his models, he was inspired by
the 'morbidezza' and 'sfumato' of
Leonardo da Vinci, but the beauty of
his golden light and warm colours is
nearer to the Venetians. Maurice
Barres defined him perfectly when
he said, 'This sublime painter cre- IL CORREGGIO.— Saint James the
Minor Carried by an Angel (drawing).
ated a different expression for every Giraudon. —
moment of a woman's soul.' Cor-
reggio found this elegiac rather than erotic charm in the Greek and
—
Latin poets Anacreon, Theocritus and Ovid. But he was a painter above
all else —
modelling his figure like
a stream of honey in the light. The
expression of delight and ecstasy is
the same as in his red pastel study
for the Cupola of Saint John at
Parma: Saint James the Minor
Carried by an Angel.
The influence of this artist was
very widespread, both in his own
time and towards the end of the
eighteenth century, when Prud'hon,
in France, was inspired by his
nonchalant and melancholy grace,
sensuality and mannerism of atti-
tude for the gestures of arms and
hands and the heads half thrown
back in his Psyche Carried Off by
Zephyrs.
PRUD'HON.—Psyche Carried Off by

Zephyrs (77 h, 62 b, C). —
Hachette.
34
IL CORREGGIO.— The Sleep of Antiope (75 h, 49 b, C).— Hachette.
GIORGIONE. 1477-1510. —
Giorgione's brief career remains shrouded
in mystery.He is thought to have frequented Asolo, a little town near
Venice, to which the former queen of Cyprus, Catharine Cornaro, had retired
and where she held a little court of poets and humanists. Later, Giorgione
went to Venice where he helped to promote the greater use of colour. It is
certain that he comes between Giovanni Bellini and Titian, and was the
teacher of the latter. Giorgione had a sense of space very exceptional for
his time, and he placed his figures in a new naturalistic setting. His
favourite subject was landscapes, like the admirable Open Air Concert,
probably his last work and the most famous. The two naked women may
be courtisans, or allegorical figures, the meaning of which is unknown
today. The plastic beauty of the flesh, the rounded, opulent forms bathed
in light, the rich warm colours of the costumes —
the red which sets
off the green of the lawns —
and the realism of the attitudes of the two
men arguing show how this painter loved art which was true to life. The
Virgilian landscape with the shepherd and shady
his flock, to the right, the
underwood, the mass of trees and the distances, to the left, and the beauty
of the sky with the setting sun make Giorgione one of the first great
landscape painters with modern tendencies. It is not surprising that
one of the direct forerunners of Impressionism, Manet, a great realist,

was influenced by this picture when he painted his Dejeuner sur I'Herbe
(the picnic) shown at the Salon des Rejuses in 1863, and which aroused
violent scandal.
MANET.— Dejeuner
sur I'Herbe, or The
Picnic (84 h, 106 b,
€).— Hachette.
36
GIORGIONE.— Open Air Concert (43 h, 54 b, C).— Hachette
TITIAN.—The Entombment (58 h, 85 b, C).— Hachette.
—
TITIAN. 1485 (?)-i576. Executed around 1525, The Entombment ^
isone of the first paintings of Titian in which there is a feehng of dramatic

depth beside the splendour of the colours. It was part of the collection
of the Dukes Mantua before coming into the possession of Charles I of
of
England; was bought by Jabach, who sold it to Louis XIV of
later, it
France. The composition |is ordered to a perfect rhythm and could be
inscribed on the pediment of a Romanesque church. It has a Raphaelite
harmony; the Magdalen, on the left, with an expression of exalted pathos,
is holding the Virgin transfixed with grief; both give great intensity to
the body of Christ carried by Joseph of Arimathia, Saint John, in the
centre, and Nicodemus. The latter is wearing a tunic, the red of which is
set off by a green scarf. The white grave cloth contrasts with the ashen grey
of the Saviour's body, the hanging hand of which is the finest part of the
picture. has been said that Titian painted himself as Joseph of Arimathia.
It
The Portrait of a Young Woman at Her Toilet, painted in 15 15, is

supposedly that of Laura de' Dianti, the mistress of Alfonso I, Duke of
Ferrara, who can be seen on the left, holding the mirrors. The painting
was known in the eighteenth century as The Mistress of Titian. The
beauty of the expression, the model's dreamy tenderness and the grace of
her attitude underline the marvellously poetic realism of Tiziano Vecellio'.
38
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42
RAPHAEL.— In Cardinal
1518,
Bibiena, the Legate to
Pontifical
France, ordered hisprotege, Raphael,
to paint the Portrait of Joan of
Aragon, the fiancee of Ascanio
Colonna, Constable of Naples, to
whom she was married in 1521.
But the artist, then in Rome, had
too much work on hand and sent
a pupil to draw the young girl.
Vasari says that it was Giulio Pippi
de Giannuzzi, Raphael's favourite
pupil, who did most of the painting,
while his master executed only the
head. The pure beauty of the
model, her intelligence and sensi-
tivity were of the kind that espe-
RAPHAEL. — Portrait of Joan of Aragon
cially pleased Raphael and allowed (47 h, 37 b, C).— Hachette.
him to achieve the ideal of balanced

harmony which he sought.
TITIAN.—According to Mariette,
the Portrait of Frangois /was drawn
by Titian from a medal and, indeed,
the attitude of the profile seems to
bear out such an idea. The age of
the king of France allows this work
to be placed between 1533 and
1540 and may have been ordered
by Aretino, the poet, who mentions
a portrait of Frangois I in one of
his letters, as a gift for the monarch.
BRONZING. 1507-1572.—
Bronzino was one of the best por-
Florence and the picture
traitists of
he left of the Young Sculptor
shows great psychological percep-
tion. Besides the purely physical
resemblance, he made a thorough
analysis of character with the
TITIAN.— Portrait of Francois greatest sincerity, and his work is

I
(43 h, 35 b, C).— Hachette. admirably frank and true to life.
44
I
BRONZING.— Portrait of a Young Sculptor (44 h, 36 b, C).— Hachette.
46
»
'.''^^-. .y^-
CARAVAGGIO. 1573-1610.— Reac-
tion against beauty made daily life,
martyrdom scenes and phys-
torture
ical ugliness are the favourite subjects
of Merisi, better known as II Caravaggio.
He painted them in a violent, excessive,
dynamic accentuated by a technique
style
of crude light and dense
contrasting
shadow. It has been said that he work-
ed in a cellar, by the artificial light of a
candle or lantern. Nearly all his figures
come from the common people; they are
craftsmen and peasants, even in his reli-
gious compositions, and it has been pro-
tested that he made the Gospel plebeian.
This revolutionary art, essentially
Baroque, was received with little enthu-
RIBERA.— Adoration of the Shep- siasm in his own time, and his Death of
herds (94 h, 70 b, C).—Giraudon. the Virgm, painted about 1600 and intend-
ed for the church of Santa Maria della
Scala of the Trastevere, was refused by the Chapter, who were deeply
shocked by the Virgin shown as an old peasant woman with a stomach
swollen by dropsy, stretched out on a workhouse mattress and sur-
rounded by Apostles with faces taken from poor labourers.
In spite of some hesitation, Caravaggio was to triumph both in Rome
and Naples, and his ideas on esthetics spread rapidly throughout Italy and
all Europe the name of
Xaravaggioism'.
The Spanish, especially,
liked his technique, and
Ribera was one of his most
faithful disciples (see the
Adoration of the Shep-
herds). Even among the
French, who are less easily
carried away by tempera-
ment, he had his admirers,
and Georges de La Tour
used his contrasting artifi-
cial lighting effects (see
LA TOUR.— Adoration of the Shepherds

the Adoration of the Shep-
(42 h, 54 b, C). — Giraudon. herds),
48
IL CARAVAGGIO.— The Death of the Virgin (145 h, 86 b, C).— Giraudon.
50
^
^""^^
TIEPOLO (Giam-
battista). 1690-1770.
— Venice, in the eigh-
teenth century, seems
to have favoured a
return to the grandeur
of the past. Giam-
battista Tiepolo painted
monumental decora-
tions in the style of
Veronese with sump-
tuous carnival scenes,
which delighted Dome-
nico Tiepolo, his son,
and Pietro Longhi, who
also left brilliant pic-
tures of life in Venice.
TIEPOLO.— The Last Supper (31 h, 35 The Last Supper of

b, C).
— Hachette. Giambattista Tiepolo,
a small picture, has
not the decorative fullness of his big canvases (The Episcopal Palace
of Wurzhurg, The Royal Palace of Madrid, etc.), but it is in
keeping with his very free technique and his light and joyful colours.
Although Biblical, the subject is treated in the manner of Veronese.
TIEPOLO (Domenico). 1727-
1804. —Domenico Tiepolo's lively
and colourful Minuet shows eight-
eenth century Venice at carnival
time with people in burlesque
disguise, dancing all over the
town.
LONGHI (Pietro). 1702-
1785. —Pietro Longhi's Presenta-
tion is more intimate in character.
The artist preferred to paint the
more refined entertainments and
serenades given in the houses of
the great rather than scenes of
popular rejoicing.
LONGHI.— The Presentation (25 h,

21 b, C).— Hachette.
S2
DOMENICO TIEPOLO.— The Minuet (31 h, 43 b, C).— Hachette
SPANISH SCHOOL
SPANISH ART is a real antithesis; its predominating elements are realism

and mysticism. Few frescoes are to be found in the Middle Ages but
there are some altarpieces, often of huge dimensions. France and
Italy both had their influence, but at the end of the fifteenth century and during
the Renaissance the historical links with Flanders produced a strong
Flemish influence. However, an important centre grew up in the North
Catalogna, in the Barcelona region, the art of which was really autochtonal.
During the Renaissance, two opposing tendencies were manifest: one
was essentially mystic with, as its principal representative, Luis de Morales^
nicknamed 'the Divine* for he painted only religious compositions; the
,
other was a school of portrait painters of minute realism, somewhat approach-

ing the Flemish. This latter's style was rather pompous but full of truth.
It was not until the second half of the sixteenth century that a really
national art grew up and the curious thing about it was that it needed a
foreigner to promote it. Domenikos Theotokopoulos , who goes by the
name of El Greco, was, in fact, a native of Crete; trained at Venice under the
influence of Titian and especially of Tintoretto, he came to Spain in about
1576, but his strange, fascinating art surprised
king Philip II, who did not employ him. This
latter was disconcerted by his audacious composi-
tions, his str etched- out , convulsed forms , affected
and odd, his unusual colours, that are however
marvellous to our eyes in the rareness of their
harmony. So El Greco retired to Toledo, where he
painted for the churches and convents and realized
his masterpiece, preserved at Santo Tome
church. The Burial of the Count of Orgaz.
The seventeenth century was the golden cen-
tury of Spanish painting. Many important
centres grew up. The Valencia school was
dominated by the personality of Ribera; this
latter was well acquainted with Italy and with
the art of Caravaggio whose esthetics he import-
ed into Spain.
FIFTEENTH CENTURYSCHOOLOFCATALOGNA.—
Martyrdom of Saint George (42h, 21 b, W).— Giraudon.
54
— ,,
In Andalusia, Sevilleheldan impor-

tant position. Roelas and Herrera El
Viejo (the elder) who created religious
.
compositions using ordinary people and

particularly those of the soil as models,
should be noted.
Zurhardn, the great mystic of the
time, worked for the monasteries; he
was thus able to conjure up with except-
ional genius the atmosphere of convent
life. A refined colourist, Zurbardn
has a fine range of greys that may be
found in Velasquez' or Goya's work.
Murillo incarnated the popular de-
votion in Andalusia. So his Holy
Families bringing out familyand
ZURBAR An. —Saint Bonaventura
times —
Presiding a Chapter (98 h, 89 b, C).—
working life of the his Madonnas Archives Photographiques de France.
.
and especially his Immaculate Con-

ceptions became extremely popular. Murillo was moreover seduced by
street-arab types, ' picaros' —a sort of beggar — painted with much
that he
realism. His big rival was Valdes Leal, an exalted, oddfellow who preferred
macabre scenes and whose masterpieces on the final destiny of Man are conser-
ved at the Charity Hospital in Seville: Finis gloriaemundiancfln ictu oculi.
But the king of Spanish painters, born in Seville, worked at the Court
of Philip IV in Madrid and was in the Castilian school. Velasquez
tried all sorts of painting, religious compositions (the least numerous)
historic scenes like the Surrender of Breda, famous under the name of
Lances (Prado) or paintings where, on the advice of Rubens, he combined
,
allegory with reality, as in his Drinkers at the Prado. But, above all, he is
one of the greatest portrait painters that the world has ever known and
Philip IV's entire court passed beneath his brush. His masterpiece remains
The Menines (Prado).
During the period of transition between the seventeenth and eighteenth
centuries, secondary masters and foreigners —
French, Italian, German —
painted at the court of the Bourbons of Spain. Towards 177S, Q typically
Spanish genius made his appearance, an extraordinary painter of customs
a realist and visionary and a great portrait painter: Goya. This latter
proved to be an exceptional etcher and engraver. As court painter, he
depicted life at the end of the reign of Charles III and under Charles IV
and Ferdinand VII.
After Goya, Eugenio Lucas showed talent in imitating his style, but
without ever equalling this master of genius.
55
EL GRECO. 1541-1614. The theme —
of Christon the Cross was treated
several times by El Greco. In the paint-
ing in the Louvre, he placed two donors
in adoration at the foot of the cross,
which for a long time were thought to
be the brothers Covarrubias. The ges-
ture of the figure on the right, his hand
on his breast, is to be found in another
work of the same artist, the famous
Gentleman with a Sword, in the Prado.
The influence of the Venetian masters,
particularly Titian and Tintoretto, can
be seen here, but the ardent faith of the
expressions and the ascetic spirituality
of the faces is of a very different type,
EL GRECO.— Portrait of Covarru-
which brings to mind the great contem- bias (27 h, —
22 b, C). Archives
porary Spanish mystics, Saint Theresa Photographiques de France.
of Avila and Saint John of the Cross.
El Greco was born in Crete and was probably influenced in his youth
by Byzantine traditions. His systematic stylization of the body must have
come from this source. During his stay in Venice, El Greco may have found
certain characteristics in the works of Titian and Tintoretto the lengthen- —
ing of the bodies and the use of generous curves to accentuate the twist-
edness of the forms, the main features of the mannerism then in vogue in
Italy and which are already forerunners, to a great extent, of Baroque art.
His lyrism and distortions are to be found again in France, at the end
of the nineteenth century, in
Cezanne's Bathers, which
has many analogies with the
style of El Greco. But the
latter goes further than re-
ality; he was a visionary.
In the Portrait of Covar-
rubias, the face is modelled
with little strokes to suggest
the reflected light; this
technique was to be used
again by some of the Impres-
sionists, notably Renoir,
at the beginning of his
CEZANNE.— Bathers (9 h, 13 b, C).— Giraudon. career.
56
EL GRECO. —Christ on the Cross (98 h, 71 b, C).— Hachette.
RIBERA 1 588- 1 656.— Ribera,
.
more than any other Spaniard, loved

painting scenes of martyrdom, or de-
formed and even hideous creatures.
The Clubfoot, dated 1642, is one of the
most celebrated of his works of this
kind. The child is holding a request
for alms in Latin (Da mihi elimosinam
propter amorem Dei), which must
mean he is also deaf and dumb, though
in spite of everything he is smiling and
apparently happy. Ribera was the
creator of this street-arab type, of
which Murillo's Young Beggar an- is
other characteristic example. Either

might have come out of one of the
picaresque novels of the period, such
as Lazarillo de Tormes, or the Novelas
Ejemplares and Don Quixote by Cer-
vantes.
HERRERA EL VIEJO.— Saint Basil
Dictating His Doctrine (98 h, 77 b, Ribera also worked at Valencia
C).— Giraudon. and travelled in Italy, in Naples espe-
cially, where he studied Caravaggio's
style, all the while keeping his own
typically Spanish frank realism,
entirely free from all pose.
HERRERA EL VIEJO. 1576-

1656. — Herrera el Viejo, or the Older,
an Andalusian, was the first master
of Velasquez. His Saint Basil Dic-

tating His Doctrine was painted with
great energy and the artist crushed
his colours onto the canvas, modelling
the figures with generous brush
strokes. 'It looks like Satan haran-
guing Pandemonium, the figures are

so fierce, sinister and diabolical',
Theophile Gautier said of this work.
MURILLO. —The Young Beggar (54 h,

45 b C).— Hachette.
58
RIBERA.—The Clubfoot (65 h, 36 b, C).— Hachette.
ZURBARAn. — Fu-
neral of Saint Bona-
ventura (89 h, 8q b,
C).— Hachette.
ZURBARAN. 1598- 1662. — Zurbaran was the great painter of

monastic life in Andalusia and Estramadura in the seventeenth century.
His important works for the Fathers of Mercy, the Hieronymites, the
Franciscans and the Carthusians are among the world's greatest religious
paintings. He collaborated with Herrera el Viejo in the compositions
for the Franciscans of Seville, four of which were painted by him. Two
of these are now in the Louvre Saint Bonaventura Receiving the Envoys
of the Emperor Palaeologus and the Funeral of Saint Bonaventura. The
contrasts so typical of the Spanish temperament are very distinct here,
and the expressive realism of some of the faces, beside the idealism and
mystic fervour of others, is striking. The violent light alternating with
large surfaces of shadow gives a sculptural effect to the figures, and these
brutal contrasts accentuate the pathos of the scene.
Zurbaran also painted a number of portraits of saints. The female
saints gave the artist a wonderful excuse for painting the pretty girls of
Andalusia, elegantly dressed in their national costume, like this exquisite
Saint Apolline.
60
ZURBARAN.— Saint Apolline
(44 h, 26 b, C). — Hachette.
u ^ ^ ^
o 4; <U o
"^
^ E
VELASQUEZ. 1599.1660.—
'Beside Velasquez', wrote Taine,
'all the others look dead or aca-
demic' It is true, indeed, that
this painter knew how to breathe
lifeinto his work, and he is often
considered the prince of portrai-
tists. He left several portraits of
Queen Marianna, wife of Philip IV,
including this one in the Louvre.
Although Velasquez was official
painter at this court with its very
stiff etiquette, he was no flatterer.
He treated his royal model just as
he saw her, both physically and
morally. He did not try to beautify
the rather heavy, hard mask of
the Hapsburgs and his figure
remains stilted for all its rich ap-
VELAsQUEZ.— Portrait of the Infanta
Margaret (28 h, 23 b, C). — Hachette. parel. Yet the portrait has life and
presence and Velasquez penetrated
to the heart of the queen's character and personality.
Velasquez' technique is both sober and daring; with sweeping strokes
he gives an idea of all the details of the costume and even succeeds in
suggesting the quality of the materials
and the jewels. His touch, astonish-
ingly precise in its very imprecision,
makes this seventeenth century Spaniard
the forerunner of some of the Impres-
sionists at the beginning of their careers.
The Portrait of Madame Georges Char-
pentier by Renoir belongs to the same
artistic family.
The infantas of Spain were painted by
Velasquez many times, but it is the little
Infanta Margaret who seems to have
inspired the artist the most. In his mas-
terpiece. The Menines , in the Prado, it is
she who is surrounded by her ladies of
honour. The little portrait in the Louvre
RENOIR.— Portrait of Madame
was probably finished by the artist's son- Georges Charpentier (18 h, 16 b,
in-law, del Mazo. C). —
Giraudon.
64
velAsquez.—
Portrait of Queen
Marianna (83 h,
50 b, C).—
Hachette.
GOYA. 1746-1828.—At the end
of theeighteenth century, and
during the first quarter of the nine-
teenth, Goya was the uncontested
genius of the Spanish school. Paint-
er, draughtsman and engraver ahke,
he practised every different form of
art but, Hke Velasquez, he excelled
in the portrait. Although attached
to the court, he was in no way a
court flatterer. He even left a
number of satirical portraits, expos-
ing the foibles of the royal family,
Queen Maria Luisa. He
particularly
had a sarcastic temperament and
knew how to draw out the physical GOYA. -Lady with a Fan (41 h, 34 b,
and moral defects of his models. C).— Hachette.
This is not the case, however, for his
masterpiece, the Portrait of the Marchioness of Solaria, nee Countess of
Carpio, which was recently left to the Louvre by Don Carlos of Beistegi.
Goya knew how to appreciate the subtlety and sensitivity of this cultivated
young noblewoman, painted in 1794, a year before her death. The figure
has a rather ugly face and very haughty bearing, but it is not without
distinction and charm. Goya was
a wonderful colourist. His har-
monies of grey, black and white
tones, with occasional notes of
lilac and pink, were to enchant
£douard Manet.
On the same lines, the Lady
with a Fana symphony in
is
grey, with pink and pearly trans-

parencies in the flesh.
The Portrait of Guillemardet,
French ambassador to Spain in
1798, is of a more official cha-
racter. For all that, the attitude
is stilted, though the figure re-
mains alive.
GOYA.—Portrait of F. Guillemardet
(73 h, 49 b, C).— Hachette.
V
'h\
^^
GOYA. — Portrait of the Marchioness of Solana, nee Countess of Carpio (71 h,

FLEMISH SCHOOL
THREE PERIODS can be distin-

guished in the evolution of
Flemish art: a religious period
in the fifteenth century, a humanistic
period in the sixteenth century and
finally a Rubens period in the seven-
teenth century.
It was only towards the end of the
fourteenth century that Flemish art,

springing from a big international
movement, affirmed its personality^
thanks to miniaturists, engravers
and manuscript illuminators. Hence
comes, without doubt, this taste for
detail and minuteness in the style of
the primitive painters.
In the first half of the fifteenth cen-
tury, the Van Eyck brothers played the
same part of initiators in Flanders as
MEMLING.—The Mystic Marriage of
Giotto played in Italy in the fourteenth Saint Catherine (lo h, 6 b, W).
century. They perfected the oil-paint- Giraudon.
ing technique and represented, with
a faithfulness and exactitude never depassed, the forms and aspects of
beings and objects that they had penetratingly observed. Their masterpiece
is the Worship of the Lamb conserved at Saint- Bavon church in Ghent,
On Jan van Eyck turned especially to portrait

the death of his brother,
painting. Creator of easel painting which includes mainly canvases of
.
small size, he nevertheless managed to create a whole world. He was

one of the first to paint Nature as it appeared to him, discovering the
depth of space and suggesting it by a subtle degradation of tones according
to the distance.
At about the same Weyden created a pathetic,
time, Rogier van der
sculptural art, opposed to and highly serene. His masterpiece
Van Eyck's,
is the Descent from the Cross (Escurial) Most of his paintings are very
.
realistic and reach a monumental amplitude rather rare with northern artists.
Van der Weyden is a rival of Van Eyck's in portrait paintings but the
68
masters' styles are quite different; Van Wey den's
art is acuter, more
der
aristocratic, intenser and more His models remain nobly
individualistic.
aloof and disdainful, whilst Van Eyck's are more plebeian.
In the second half of the fifteenth century, Dierich Bouts, working at
Louvain, was strongly influenced by Van der Weyden, but adopted more
angular forms and a more monumental style. Hugo van der Goes was
also a follower of Van der Weyden in his inspiration and pathetic qual-
ity however, he seems to have been familiar with Italy and, consequently,
his compositions are more affected.
In Bruges, Hans Memling, whilst conserving the general characteristics
of Flemish art, is different from the preceding artists in that his compo-
sitions are symmetrical and his expressions characters' are suave and
gentle. This serenity and poetry call to mind the religious circles of
Bruges that the artist frequented. On Memling's death in 1494,
Gerard David took up an important position in painting in Bruges and his
works full of charm link up the fifteenth century and the Renaissance.
With the sixteenth century, the humanistic ideal, especially in its Italian
form, penetrated all the studios. Although Quentin Metsys, especially
in his Madonnas was influenced
,
by Leonardo da Vinci, he in fact

owed more to Memling than to
Italy and his delight in intimate
scenes of peaceful bourgeois homes
is a sure sign of his northern
origin.
The Italian mannerists then
succeeded one upon the other in
Flanders; the most noteworthy
representatives are Jan Gossaert,
called Mabuse, and Bernard van
Orley. However, in the second
half of the sixteenth century, an
artist of typicallyFlemish genius
in his taste forNature and reality,
that he depicts in an extremely
poetic manner, made his appear-
ance; Pieter Brueghel the Elder was
one of the most delicate landscape
painters of all time, but he was
also one of the first great painters
of customs, announcing Rubens. RUBENS.-The Virgin of the Innocents
His village fairs make the hot, (54 h, 39 b, C).— Giraudon.
69
noisy atmosphere of the
popular Flemish fes-
tivals come back to life.
Brueghel was also a
visionary and a satirist
who gave free vent to his
imagination and fancy
in scenes illustrating
popular proverbs or
legends.
Paul Bril, a land-
scape painter already
showing classical ten-
dencies, forms a bridge
between the sixteenthand JORDAENS.—The King Drinks (60 h, 80 b, C).
seventeenth centuries. Giraudon.
-N- *
The high light of the seventeenth century was the Antwerp school which
took over the prestige held by Ghent and Bruges until then. This third
period, characterized by synthesis and balance between the realism
peculiar to Flemish grandeur of style and the research of harmony
art, the
borrowed from Italy, was entirely dominated by Rubens.
Pieter Paul Rubens, a great humanist and excellent diplomatist, was a
painter in every conceivable style and may be considered as the best decorator
of his time. Primarily a baroque painter, he expressed above all life cap-
tured in its instantaneousness under its most subtle and most frantic
aspects. He managed
to create a universe of
forms unique in this
world, and his ^passing'
compositions, which de-
pict a sequence of move-
ments through space
or through clouds, are
irresistibly impulsive.
JAN FYT (1611-1661).—

Game and Hunting Ob-
jects (37 h, 48 b. C).—
Giraudon.
70
Rubens also expressed himself in rich,
subtle colour, giving a sensitive and
it
evocative role. Rubens had a consid-

erable influence as much outside his
country as on those around him. In his
studio were numerous pupils who often
collaborated in his decorations. The most
notable of them were Gaspard de Grayer,
Van Thulden, Gornelis and Paul de Vos,
the animal painters Snyder s and Fyt
and finally his two greatest disciples^
Jacob Jordaens and Anthony van Dyck.
Jordaens forcibly emphasized Rubens'
plebeian expression. His joyous fairs
are Pantagruelian repasts or somewhat ADRIAN BROUWER (1605?-
1638).— The Smoker or the
vulgar drinking orgies. Van Dyck, on Sense of Smell (16 h, 13 b,
the contrary, specialized in portrait paint- W).— Hachette.
ing and, on arriving in London, became
the favourite painter of Gharles I.
On
a level with this Rubens current, another stream carried on the tradition
of the sixteenth century masters, characterized by the taste for minute analysis
of detail; Jan Brueghel and Gonzales Goques formed part of this current
together with David Teniers, the Younger, whose country fetes are
artificialcompared with Rubens' fairs. A freer style was acquired by
Adrian Brouwer, who passed through Frans Hals' s Haarlem studio and
painted authentic Flemish people, gay drinkers in smoky taverns. Finally
Jan Siberechts treated rustic subjects and peasant scenes, already
announcing the spirit
of the eighteenth cen-
tury.
But Flemish art
had given of its best at
this epoch and the part
it played from then
on is only a minor
one.
DAVID TENIERS THE

YOUNGER (1610-1690).
—Village Fair (31 h, 42 b,
C).— Hachette.
71
ining every detail very closely. Jan
van Eyck wanted to render what he
saw, exactly, like a mirror. The
donor's face is painted extremely
carefully and shows every wrinkle
and the tiniest folds of his beard.
This rigorous observation was
applied extensively in landscape
painting. The backgrounds are
full of tiny figures, treated almost
in miniature, busying about the
streets the town, in the fields
of
or on the bridge over the river.
VAN EYCK.—The Virgin with the

Chancellor Rolin (detail). —Giraudon.
EYCK (Jan van). 1390 ( ?)-i44i.
—This panel of Jan van Eyck, The
Virgin with the Chancellor Rolin,
entered the Louvre in 1800. It
came from the Collegial Church f^

of Autun, to which it was given
by Nicholas Rolin, Chancellor of
Burgundy.
It is one of the artist's greatest
works. The brothers van Eyck
mi: :m,^ & "^ xjjiiikiiihywifcii:^--'*^,
f%l
have been said to have invented oil
painting, though, actually, they
rediscovered this technique, which
had been forgotten for centuries.
The Flemish painters were influ-
enced by the illuminators
old manuscripts and were great
of
I ill ill*
^
realists who copied nature, exam-
VAN EYCK.—The
Chancellor Rolin
Virgin
(detail).
with
—Vizzavona.
the
P ^^t*^'"
72
i?/
mil*
VAN EYCK.— The Virgin with the Chancellor Rolin, known as the ' Virgin of
—
Autun (26 h, 24 b, W). Vizzavona.
'
VAN DER WEYDEN.—The Triptych known as that of the Braque Family (i6 h,
—
63 b, W). Giraudon.
WEYDEN (Van der). —

1399 ( ?)-i464. Van der Weyden was inter-
ested above all in people;he gave his figures more individuality than
—
van Eyck and tried to express feeling now sorrowful and now serene
but always full of quivering sensitivity.
This Annunciation a work of the artist's youth, is the central part
y
of a triptych, the two side panels of which are in the royal gallery at Turin.
It expresses the peace of daily life in the home. The Flemish madonnas
—
are of a very distinct type with a regular, oval face, high domed forehead,
almond eyes and long wavy hair falling to the shoulders. All these
characteristics are to be found here.
The gold and glasswork and materials
are treated with a love that is particu-
larly Flemish the open window allows
;
the imagination to wander out beyond

the intimacy of the room.
The Triptych known as that of the
Braque family, painted when the artist
was at the height of his powers, seems
to be one of the little portable altars so
often painted in the Middle Ages. It
gives an impression of grave spiritual-

ity. On the back are the arms of the
Braques and the Brabants.
BOUTS (Dierich). 1400-1475.—

Born in Haarlem, though influenced by
van der Weyden, Dierich Bouts intro-
duced a pathetic note into his Descent
from the Cross, which is set before a
DIERICH BOUTS.-Descent from ^îch the sense of space
W). Girau-
the Cross (26h, 19 b, — ^^^^
is
f
amazmgly
^^
, ^
powerful.
,
don.
74
VAN DER WEYDEN.— The Annunciation (34 h, 36 b, W).— Hachette.
MEMLING.—
Portrait of an
Old Woman
(i4h,iib,W).
—Giraudon.
MEMLING (Hans). 1433 (?)-i494.—
The Virgin enthroned amid several saints
and donors is a very old subject, and many
examples of it have been found in Italy in
the fourteenth and fifteenth centuries. The
Flemish particularly loved to gather their
fellow countrymen around the Madonna.
The Virgin known as that of James Floreins
is shown venerated by a whole family; on
the presented by his patron saint. Saint

left,
James, who
is standing at his side, is the
donor, James Floreins, to the right, is

his wife, surrounded by her many daugh-
ters.
Hans Memling lived partly at Bruges and
the atmosphere of the Beguine Convents can
be found in his work, which is impregnated
with the peaceful serenity of monastic life.
He created a suave and langorous feminine
MEMLING.—Martyrdom of
type for his madonnas and saints.
Saint Sebastian (panel of trip- His Martyrdom of Saint Sebastian is the
tych 24 h, 8
; b, W) .
—Archives left side panel of a triptych of which the
Photographiques de France. opposite panel is the Ascension and the
centre panel the Resurrection of Christ.
The frank realism of the Portrait ofan Old Woman is softened by the
meditative expression of the model.
76
MEMLING. —The Virgin of James Floreins (51 h, 69 b, W).— Hachette.
DAVID (Gerard). 1450 (?)-i523. —The miracle of the Marriage at
Carta was considered very early on as a symbol of the Eucharist, and the
theme has been treated many times by painters, the most celebrated
example probably being Veronese's great composition, in which the artist
turned the scene into a fashionable banquet, Gerard David, who was
one of the most important painters of Bruges after the death of Memling,
treated the subject in the Flemish manner, that is to say with a certain
homely touch. As always, the donors are present; Jan of Sedano is
GERARD
DAVID.
—The Marriage
at Cana (37 h,
50 b, W).—
Giraudon.
shown, kneeling on the left, with his son behind him, in the uniform of
the Brotherhood of the Holy Blood. To the right is his wife. Notice
the two beautifully observed attitudes and living expressions of the young
boy bringing a dish and the monk whose appetite is whetted at the sight
of the food.
METSYS (Quentin). 1465 ( ?)-i530.— T/ie Moneylender and His
Wife is one of the best known works of Quentin Metsys. Home or
working life has always been the favourite subject of Flemish and Dutch
artists. Both in the time of Metsys and later, many artists drew their
inspiration from this source. Here the theme is a peaceful existence
inside the home, and the picture shows a couple surrounded by their
familiar possessions carefully counting out the pieces of money scattered
over the table. A mirror reflects a window and, beyond it, a landscape.
The Flemish painter wanted to show a correspondence between his art,
which is precise and realistic, very intimate, and the mirror, reflecting
the outside world.
78
i
mm
i~
QUENTIN METSYS.— The Moneylender and His Wife (28 Hachette.

BRUEGHEL (Pie-
ter, known as the El-
der). 1525 (?)-i569.
—The little painting
of Beggars was
the
painted by Brueghel
the Elder at the end
of his career. Dated
1568, at a time when
the revolt against the
Spanish occupation
was growing, this
work was for a long
time thought to hide
satirical allusions to
PAUL BRIL.— Diana and the Nymphs (41 h, 57 b, C) political events. The
—Archives Photographiques de France. foxes' tails on the
costumes of the poor
wights were indeed used at the period to ridicule the government
of Philip II of Spain, but they were also the emblem of the poor, and it is
now believed that the artist simply wanted to paint the various brother-
hoods of beggars, blind men and lepers.
Beside Brueghel's strikingly realistic treatment of human misery, the
artist's admirable feeling for nature should be noticed. His refined greens
—
-„ r— give a happy, springlike touch to the scene.
The style of his frank, direct drawings of
peasant life have only once ever been appro-
ached, by Millet, in nineteenth century France.
BRIL (Paul). 1554-1625.— Paul Bril, that
excellent landscapist, provided the link between
the sixteenth and seventeenth centuries. He
settled in Rome, where he underwent the influ-
ence of the German painter, Adam Elsheimer.
His landscape, Diana and the Nymphs, although
it is still impregnated with the Flemish tradition
of fresh green, has a balanced composition which

reveals the role of Paul Bril in the birth
and development of the classical landscape.
Through the intermediary of his pupil, Agos-
tino Tassi, he was able to exercise a certain
BRUEGHEL THE EL- influence on the development of Claude Gellee,
—
DEK. reasant (draw- ^ '
ing). Hachette. better known as Claude Lorrain.
80
f
BRUEGHEL THE ELDER.— Beggars (7 h, 8 b, W).— Hachette.

RUBENS (Pierre-Paul). 1577-1640.
— was between 1621 and 1625 that
It
Rubens was commissioned by Mary of

Medici to do the great decorative series
for the gallery of the Luxembourg
Palace. The artist found the general
theme given him, the life of Mary of
Medici and her Government, rather thin,
as the regency had scarcely been brilliant.
So, in his plan, given on the 19th of
May, 1622, he decided to mix allegory
with reality and the gods of Olympus
are to be seen among the historical
figures.
The series included twenty-one pic-
tures and three portraits, those of the
queen and her parents. Rubens did the
main figures himself, leaving the less
important parts to his pupils and collab-
orators. RUBENS.— Lady with a Fan
The Arrival of Mary of Medici at (drawing) Giraudon. .
—
Marseilles is one of the most celebrated
pictures in the series, and it is easy to pick out the part done by Rubens.
He went over all the smaller figures,
naiads and tritons, the magic of his
brush bringing life to the scene and
making the bodies move in the light
with astonishing liberty. Watteau and,
later, Eugene Delacroix copied fragments
of it, and you can see all that the latter
owed to the Flemish master from the
detail given here of the Death of Sarda-
napalus (Salon of 1827).
Rubens caught the mobility of an
attitude or an expression in his draw-
ings, as in the Lady With a Fan for
instance, and, here too, his influence on
Watteau was very great.
DELACROIX.— The Death of Sar-

danapalus (detail). — Hachette.
82
RUBENS.—Arrival of Mary of Medici at Marseilles (155 h, 116 b, C).— Hachette.
84
i
imm-
m*'^
DYCK (Anthony Van). 1 599-1 641.
—The Equestrian Portrait of Francis

of Moncada, the marquis of Aytona,
Generahssimo of the Spanish troops in
the Netherlands, is generally consid-
ered the most beautiful of Van Dyck's
work of this kind. It was executed
before the artist went to England, in
about 1632. This pupil of Rubens
—the most brilliant — completed his
artistic education in Italy, where
he studied the great masters, the
Venetians in particular.
A celebrated portraitist. Van Dyck
spent many years in England, be-
coming the favourite painter of
Charles I. The Portrait of the latter JORDAENS.— The Four Evangelists
clearly illustrates the development of (53 h, 46 b, C).— Hachette.
his art. From this time on, he paint-
ed exclusively in elegant, aristocratic, carefree, pleasure-loving circles.
He gave particular importance to
the hands of his models. Long
and fine, they symbolize the
distinction of his noble subjects.
JORDAENS (Jacob). 1593-
1678. —Jacob Jordaens, however,
was a true Flemish realist, and
his work even sometimes shows a
certain triviality. He, too, was
one of Rubens' best pupils and
the latter's truculent manner,
even more accused here, is to
be seen in many of Jordaens's
works. The series, The King
Drinks, is of jolly family drinking
scenes. Nevertheless, one of his
pictures, the Four Evangelists,
first
in which the ecstatic fervour of
the young Saint John is set off
by the materialism of the three
VAN DYCK.— Portrait of Charles I
(107 h, 83 b, C).— old men beside him, has great

Archives Photographiques de France. mystic grandeur.
86
VAN DYCK.— Portrait of Francis of Moncada (121 h, 95 b, C).— Hachette.
DUTCH SCHOOL
Low Country
THEformed (part of present-day Belgium and Holland)
one single state in the Middle Ages under the dependence of
the house of Burgundy and then the house of Austria. After being
for a long time a tutelary of Spain to whom it fell after Charles V's abdica-
tion in 1555, the independence of Holland was finally recognized by the
peace treaty of Westphalia in 1648. Consequently, up until this date,
Holland's art was closely linked up with that of Flanders although the char-
acter peculiar to each race can be discerned. As Calvinism was opposed to
church decoration, no religious paintings are found in Holland, but only
some biblical compositions. Under a republican government, the artists
worked for the town-hall and not for the palace. Thus a civic, artisan and
bourgeois art grew up, inciting the artist to depict daily life in all its
most trivial aspects and to make portraits of men and places; that is why
the Dutch are excellent portrait and landscape painters. Besides, their
positive temperament encouraged them to interpret familiar life. Through
their taste for the anecdotical and the picturesque, the Dutch artists have
earned the nickname of the 'little masters' (with the exception of Rembrandt,
Frans Hals, Vermeer and certain landscape painters)
The portrait painters were called upon to paint the portraits of brother-
hoods (Militias and Archers' Societies, etc.) 'Regents' and Regentesses'
, '
(administrators of benevolent societies) and 'Syndics' (heads of merchant
VAN DER HELST.—The

Elders of the Brotherhood
of the Bowmen of Saint
Sebastian (20 h, 26 b, C).
— Giraudon.
88
,
corporations) Then, as sur-

.
gery was particularly well

thought of in Holland, the artists
painted ânatomy lessons' as a
pretext for painting the pro-
fessor surrounded by his pupils.
At the end of the fifteenth
century and in the first years of
the Renaissance, a fantastic,
satiricalworld still full of the
infernal terrors of the Middle
Ages was imagined by Jerome
Bosch in compositions which
are a very early prelude to
Surrealism, and where burlesque
joins hands with reality. At
the same epoch, Lucas van
Ley den, under Germanic influ-
ence, already showed certain
aspects of mannerism in his
work. The last of the good
Renaissance painters in the METSU.—Still Life (21 h, 17 b, C).-
Low Country was Antonio Giraudon.
Moro, a skillful portrait paint-
er called to theCourt of Spain. There was then a period of transition in
the region of Utrecht, under the influence of Caravaggio and with notably
Honthorst and Ter Brugghen.
In the seventeenth century, the dash and genius of Frans Hals inau-
gurated collective portrait painting at Haarlem; his Bowmen of Saint
George or of Saint Adrian are typical of these joyous, animated reunions.
His Regents and Regentesses together with Rembrandt's portraits, are one
of the highest expressions of human psychology. As for what are called his
'character' portraits. The Gipsy in the Louvre being the best-known of
them, they clear the way for Fragonard and Manet by their modern tech-
nique. After him. Van der Heist and Ferdinand Bol should be mentioned.
The painting of custom is one of the essential forms of Dutch art; a taste
for the picturesque and anecdotical, both popular and bourgeois tendencies
are the main aspects of the ' little masters' art. There is a host of these
latter amongst whom we shall mention only the most important. Adrian
van Ostade practised genre painting and treated cabaret scenes. The field
of observation of Jan Steen, a satirist, was rather wider: he represented
not only the merry mob at the fair, but also calm household gatherings
89
ADRIAN VAN DE VELDE '
(1636- 1 672). —The Frozen

Canal (9 h, 11 b, C).—
Giraudon.
of the lower middle

classes. Then again,
there are Dirk Hals,
Judith Leyster, Gaspard
van Netscher, Mieris,
Van der Werjf Pala- ,
medes, Bega, Nicolas

Maes, Dusart or still-
life painters such as de
Heem or Van Huysum,
being a specialist in flower painting.
this latter Amongst these little masters,
however, only a few rose to a level above mere domestic reality. Such are
Gerard Dow, Ter Borch, Gabriel Metsu and Pieter de Hooch Of these .
Gerard Dow was most famous in his country for he painted with great
the ,
care the minute details of existence. Ter Borch's attention also bore
mostly on familiar objects whilst at the same time he analysed feelings.
Metsu remained more of a painter and less anecdotical, whilst Pieter de
Hooch reserved a larger place for poetry. Lastly, Vermeer van Delft
managed to immortalize genre painting by capturing life beyond its
superficial appearance and rendering middle class existence, in its peace
and silence, quite poetic. He crystallized the simplest attitudes and gestures
by endowing them with moving grandeur.
In the landscape domain, the Dutch were very evident forerunners and,
although some of the
'little masters' minutely
analysed the bricks of the
houses, the pavements in
the streets or the leaves on
the trees, certain painters
had at the onset a mod-
ern conception of the
landscape, as the English
PAUL POTTER (1625-

1654). —The Meadow (33 h,
90
,
or French were to consider it in the nineteenth century. Amongst the

former should he included Wouxermann, Avercamp, Van der Neer,
Cuyp, the greatest of them all, and Potter, a very realistic painter of ani-
mals, and forerunner of Troyon, some Italian style painters such as Both,
Berchem and Karel Dujardin, a few painters of town scenes, Berckheyde,
Van der Hey den, the delicate Saenredam, the seascape painters, Ever-
dingen, Beerstraten and the Van de Velde family.
The heralds of the new art were Hercules Seghers, Philip Koninck,
influenced by Rembrandt, and
Solomon van Ruysdael. But
the greatest masters remain
Van Goyen, Hobbema and
Jacob van Ruysdael.
Van Goyen painted above
all water and its reflections
sea or canal; he may be
called the Claude Gellee of the
Low Country. Hobbema was
to exercise an influence over
the French landscape painters
of the Barbizon school who,
like him, were fond of the
forest. Jacob van RuysdaeVs
painting is the very expression
of his country's landscapes. He
managed to capture all their
rather sad but nevertheless fas-
cinating poetry ; his art cleared
the way for the Romantics.
Finally, one unique genius
dominates the whole of Dutch,
REMBRANDT.— The Flayed Bull (37 h,
and perhaps even universal 26 b, W).— Hachette.
painting: Rembrandt. Ifpaint-
ing may be defined as the art of expressing the invisible by the visible,
no one has known better than he how to do this. His work, partly
inspired by the Bible, irradiates love and peace. But the three pictures
which sum up the evolution of his career are collective portraits, typical
of Dutch customs: Lesson in Anatomy by Professor Tulp (16^2), The
Sortie of the Bunning Cock Company (1642) and The Syndics of the
Cloth Hall (1661). His technique gradually turned into a sort of
mixture of brownish paste; the clear-obscure played a big part in his work,
and light helped to create an exceptional atmosphere, apt for dreaming.
91
BOSCH (Jerome). 1450 ( ?)-i5i6.
—Van Aeken, better known as
Jerome Bosch, was the first to paint
extraordinary compositions, opening
up the way to visionary and sur-
realist art. The theme of The Ship
of the Madmen may have been inspired
by a contemporary work, famous in
its day, by the humanist Sebastian
Brant, which was printed at Basle

in 1494. The writer stigmatized
the extravagances and vices of his
—
time in allegorical form a ship in
which madmen sail away to the
paradise of the insane. Four years
later,came Joss Bade's satirical work,
The Ship of the Madwomen, in which
the author scoffed at the aberrations
of the five senses.
LUCAS VAN LEYDEN. 1494-1533. ANTONIO MORO.— Cardinal Gran-
—With hiskeen observation, taste for velle's Dwarf (50 h, 37 b, W).
Hachette.
reality, colours and light and shade,
Lucas van Leyden, who worked in the
first third of the Renaissance, opened
up the way to the Dutch seventeenth

century luminists. In the background
of Lot and His Daughters, is the fire of
Sodom, exploding like a firework.
MORO (Antonio). 1512 (?)-i576.
—
Antonio Moro, a portraitist, closes
the Renaissance period in the Nether-
lands. He lived at Brussels in the
service of Granvelle, one of Philip II's
representatives. The king had the ar-
tistbrought to the Spanish court, where
he took the name of Antonio Moro.
This portrait of Cardinal Granvelle's
Dwarf makes Moro a forerunner of
Ribera and Velasquez, with their pic-
tures of dwarfs, hunchbacks and idiots,
LUCAS VAN LEYDEN.-Lot and ^ common subject in the seventeenth

His Daughters.— Giraudon. century.
92
JEROME BOSCH.
— Ship of the Mad-
men (22 h, 13 b,
W).— Hachette.
HALS (Frans). 1580 (?)-
1666. —With his celebrated Gipsy
Woman, Frans Hals created the
kind of portrait known as the
'
character portrait '. It gave the
artist the opportunity of achiev-
ing, together with his portraits
of contemporary fellow-citizens,
studies of plebeian types inwhich
he was able to let his fancy run
free. He had a very daring tech-
nique, and used the palette knife
to spread his paint, which allowed
him to catch a fleeting attitude or
expression in all its spontaneity.
Frans Hals modelled the face
FRANS HALS.-Portrait of Desca~s ^^^^ ^^°^^^^ contrasts of light and
(3oh, 27 b, C).— Hachette. shade, darkenmg the contours
of the mouth and
and nostrils,
throwing heavy shadows under the neck. This technique was to
begin a school, for at the end of the nineteenth century £douard
Manet was to use it, adapting it to his own temperament, naturally,
for some of his nudes and portraits, like this one of Angelina.
Frans Hals and Rembrandt
were the greatest Dutch portrait
painters. The former adopted the
idea then in vogue, that is to
say, making the physical resem-
blance the essential part of the
work; it allows the figure to be
placed in its social context, and

reveals the principal features of
character. All this can be seen
in the portrait of Descartes, a
masterly study of the writer,
who was painted before leaving
Holland.
MANET.—Portrait of Angelina (36 h,

29 b, W). —Archives Photographiques
de France.
94
FRANS HALS.— The Gipsy {23 h, 20 b, W).— Hachette.
Why,
in seventeenth century Dutch
art,are the painters of genre known
as the Httle masters ?
*
No doubt,
'
because some of them saw only the

anecdotical or picturesque side of life
in the everyday scenes they painted.
But that is often also the source of
their charm.
DOW (Gerard), i 61 3-1 679.—

In his Dropsical Woman, Gerard
Dow told the story of the doctor's
visit in an interior of the time. The
artist painted the chandelier and the
various objects in the room with such
care that realism here sometimes
METSU. —The Grassmarket at Am- goes right to still-life deception.
sterdam (37 h, 32 b, C). —Alinari-
Giraudon. METSU (Gabriel). 1630-1667.—
Metsu's Grassmarket at Amsterdam
shows the tiniest incidents of daily life.
STEEN (Jan). —
1626 (?)-i679. Finally, Jan Steen's Fete in an Inn
illustrates the atmosphere of an inn with much verve and great truth.
JAN STEEN.
—Fete in an
Inn (46 h,
63 b, C).—
Hachette.
96
SI ™
1
7 \
*^'
GERARD DOW.— The Dropsical Woman (33 h, 26 b. WK— Hachette.

HOOCH (Pieter de). 1629-
1684 (?).— The art of Pieter
de
Hooch is very close to that of Ver-
meer, though he was less interested
in people than in houses. His
Interior of a Dutch House shows
this clearly. The artist depicts
the intimacy and deep tranquillity
of an existence where everything
has its own delicate poetry.
TER BORCH (Gerard). 1617-

168 1. —Gerard Ter Borch, who was
born in Haarlem, was a keen obser-
ver who analysed objects and feel-
ings in an often rather superficial
manner, and his Concert is perhaps
more anecdotical in treatment.
PIETER DE HOOCH.— Interior of a
Dutch House (27 h, 18 b, W). —Archives
VERMEER VAN DELFT (Jan).

1 —
632- 1 675. Among the 'little
masters' are some who reached true

greatness in genre painting, for they
succeeded in giving poetry to Nature
and reality. The most celebrated
of these is Vermeer van Delft. This
small painting, The Lacemaker, for
instance, has an extraordinary poetic
quality. This comes from the fact
that Vermeer reached a sort of abso-
lute in the expression of the mea-
sured and peaceful life, patient work
and calm and contemplative people
of the Holland of his time. He lov-
ed painting all that was shiny, like
the charming pottery of his land,
and his rather cold colouring with
its blues and yellows helps to recreate TER BORCH.— The Concert (18 h, 17 b,
the atmosphere in which he lived. W). —Archives Photographiques de
France.
98
VERMEER VAN DELFT.—The Lacemaker (9 h, 8 b, C).— Hachette.
RUYSDAEL (Jacob van). 1628
( ?)-i682. — Dutch painters excelled
in landscapes; great realists, they
painted nature as they saw it and,
to a great extent, they are forerun-
ners of the landscapists of the nine-
^ ^W^^^^^^^^^^^^^'*^ teenth century.
WL ^^^^^^^^|Bv^
"^^^^^^^^^^
Jacob Ruysdael must be one
the most celebrated of seven- all
teenth century Dutch landscape
painters. He loved the beauty of
vast horizons, and the great wind-
swept skies which often take up two
thirds or more of his canvases are
full of the light and atmosphere of
his land. He was one of the first
painters to give a fleeting appear-
ance to sunlight, or the wind
HOBBEMA.— The Watermill (32 h, bending the trees, as in the Bush.
26 b, C). Hachette. His influence on some of the nine-
teenth century French artists who
worked at Barbizon, in the Forest of Fontainebleau, is undeniable,
and Theodore Rousseau, often called the French Ruysdael, was
very deeply influenced by his work. One of his landscapes, the Edge
of the Forest of Fontainebleau, shows the same love of skies and sun
effects, the same analysis of the structure of the trees, the same
kind of reflections and sense of atmosphere.
HOBBEMA (Mein-
dert). 1638 -1709.
Hobbema was more
precise and attached to
detail, as his painting
of a Watermill shows,
and landscapes do
his
not reveal his personal
feelings like those of
Ruysdael,
ROUSSEAU.—The Edge of
the Forest of Fontainebleau
100
RUYSDAEL.— The Bush (26 h, 31 b, C).~Hachette.
—
GOYEN (Jan van). 1596-1656. Van Goyen felt and admirably
expressed the poetry of Holland, with its flat horizons, grey harmonies,
and the presence of water everywhere. A large part of his pictures, too,
is taken up by the sky, and the artist loved to catch the fleeting shadows
of the clouds overhead

and the play of reflec-
tions. Outside the
Impressionists, none
knew better than he how
to paint the diffuse,
evanescent light. One of
the Pre- Impressionists,
Jongkind, who was of
Dutch origin, though
he lived in France, had
the same love of light,
and his watercolours of
Holland, Normandy or
the banks of the Isere
are full of reflections
and vibrations (see
Dutch Landscape).
JONGKIND.- -Dutch Landscape (water-colour).
HEYDEN
Hachette.
(Jan van
der). 1 637- 1 712. —Van
der Heyden was a
charming minor land-
scape painter. He left
a number of precisely
detailed street scenes,
houses with their gables
and trees along the edge
of the canals with their
sleepy waters. In his
Canal in a Dutch Town,
every brick, every
paving-stone and every
branch or leaf is painted
with loving care. This
figurative art, is not,
however, purely photo-
graphic, for it reveals
VAN DER HEYDEN.— Canal in a Dutch Town (14 h,
18 b, W).— Giraudon. very deep sensitivity.
102
VAN GOYEN.—View of Dordrecht (44 h, 61 b, C).
REMBRANDT. 1606-1669.
— Rembrandt was an exceptio-
nal genius, who based his work
on reality, like all the Dutch
painters, but at the same time
his painting has mysterious
depths. His art reached the
invisible through the visible.
Like most Protestants, Rem-
brandt read his Bible a great
deal. And he gave his won-
derful Biblical scenes both
their full mystic value and
their great reality. In his
Pilgrims of Emmaus, the
REMBRANDT.— The Philosopher in Meditation
(ii h, 13 b, W). —Archives Photographiques de
modest inn is bathed in su-
France. pernatural light. The young
waiter has a sincere, frankly
good-humoured face for all his simple, placid features; the gesture of
surprise of the pilgrim seated on the right is wonderfully real, while
his look fixed on Christ shows his astonishment.
The pilgrim seen from behind has his hands joined in prayer and
ecstasy. Rembrandt made the figure of Christ both man and God;
—
the figure is immaterialized body and face are as if translucid.
The little picture, the Phi-
losopher in Meditation, shows
Rembrandt's technique of
bringing out the light. As in
so many of his pictures, the
contrasts reinforce the work's
mysterious character.
Rembrandt was a wonder-
ful drawing one of the
artist,
greatest the world has ever
known. A few of his firm
lines were enough to enliven
a whole scene and recreate an
atmosphere and, if he did not
try to adopt the pure line of the
classical masters, it is always
full of feeling, as the picture REMBRANDT.
REMBRANDT.-Ruth and Boaz (drawing).
of Ruth and Boaz shows. Hachette.
104
REMBRANDT. —The Pilgrims oi Emmaus (27 h, 26 b, W).— Vizzavona.
Rembrandt took his second wife,
Hendrickje Stoffels, as a model for
Baihsheha in Her Bath. He treated
his subject with rigorous honesty even
down to showing physical imperfec-
tions, yet his very personal technique
of light and shade allowed him to
give his picture a mysterious and
dreamy atmosphere.
Rembrandt generally used a very
limited scale of colours, with many
shades of brown^ yet the subtleties of
the different tones and their relation-
ship one with another make him one
of the world's greatest colourists.
His quasimonochromy, for all its
great variety of shades, shocked the
REMBRANDT.—Portrait of the Artist public of his day, causing the artist

as an Old Man (44 h, 33 b, C
)
.
—
Hachette. to say to his critics, 'I am a painter
and not a dyer.'
No one left more paintings than Rembrandt. His Portrait as an
Old Man is a masterpiece of psychology. Sorrow, ruin and solitude are
written on the ravaged face but it is still radiant with his faith in his art.
The portraits he drew are extremely realistic and life-like, and his Jan Six
Writing is one of the finest examples.
^^^^^^^^^^
ill' ^^H
REMBRANDT—Jan Six
^'^
Writing —
(drawing). Ar-
^^^^^^^^^^^^P^^^^^^^Hkb^^^^ chives Photographiques de
France.
106
REMBRANDT.— Bathsheba in Her Bath (56 h, 56 b, C).— Hachette.
GERMAN SCHOOL
MIDDLE Ages and Renaissance Germany was a crossroads for the most
varying influences; French, Italian, Burgundian and Flemish.
In the north, a school developed at Hamburg, represented by
Master Bertram and Master Francke, a good colourist with a rather
dramatic sense of expression.
In Westphalia, the dominance of the Burgundian court painters was felt
by Conrad of Soest, who created a refined and sometimes rather naively
realistic art. In Cologne, the religious and economic metropolis of the
Rhineland, inspiration was essentially mystic. The anonymous authors of
the Madonna with Peaflower (Cologne Museum) or the Saint Veronica
(Munich Picture Gallery) lead us towards the suave art of Stephan
Lochner. His Virgin in the Rosebower (Cologne Museum) is the most
perfect specimen of these madonnas 'in Paradise's small garden' so
frequent in Rhineland art.
As early as in the fifteenth century, several big centres in the south
turned towards realism and were animated by Flemish and Burgundian
•*«m."^«,rfy T5^ infi^^^ces. In Ulm, this latter
-^Sa/ t^^^.^kÊ ^^^*i^^^ gave birth to Hans Multscher's
popular verve. Basle was
dominated by powerful
the
personality of Conrad Witz
whose sculptural art has a
remarkable density. Colmar
boasted Martin Schongauer, a
native of Franconia.
In the last quarter of the
fifteenth century at Nurem-
berg, the principal town of
Franconia, Flemish and Dijon
infiuences were combined in
the work of Hans Pleydenwurf
MASTER OF THE HOLY PAREN-

TAGE (Cologne, between 1485 and
1520).— The Joys of Our Lady
(50 h, 72 b, W).— Giraudon.
108
]
.
and Michael Wolgemut,

whilst in the Tyrol
Michael Pacher was
learning from Italian
artand particularly from
Mantegna.
Alhrecht Diirer dom-
inated the whole of the
German sixteenth cen-
tury. After studying
under Wolgemut in
Nuremberg, his travels
brought him under the
influence of Martin ADAM ELSHEIMER.—The Flight into Egypt (12 h,
Schongauer and Gio-

18 b, W).— Giraudon.
vanni Bellini. How-
ever, he was hardly influenced at all by classical harmony and remained
essentially Germanic. In him were allied the sensitiveness and realism of
the Middle Ages and the universality peculiar to this Renaissance, of which
,
he is the highest incarnation in Germany.

Mathias Griinewald, whose real identity is unknown, is far removed from
the Renaissance spirit. This audacious colourist was a visionary in whom
naturalism was allied with a mysticism of tormented style. The boldness
of his conceptions stands out in his principal work, The Altarpiece of
Isenheim (Colmar Museum)
In Augsburg, Hans Holbein the Elder, in the latter part of his life,
underwent the influence of Giovanni Bellini, but was eclipsed by his son
Hans Holbein the Younger. This latter, a cosmopolitan painter, stayed
in Basle, in Italy, in France and in England. Being a lucid and
attentive observer, he was an extraordinary portrait painter, especially
in his sketches. Lucas Cranach the Elder, one of Diirer's pupils,
remained profoundly German. In his nudes and mythological flgures,
he preserved a quite almost Gothic preciousness mixed with mannerism.
The Danube school, to the creation of whose style Cranach doubtless contrib"
uted during his stay in Vienna, was very much interested in the landscapes
of Albrecht Altdorfer.
The last painter of any merit that Germany can claim is Adam Elsheimer,
born in 1578. Although influenced by the Flemish and the Italians,
he nevertheless elaborated a personal style and, like Altdorfer, painted
landscapes of great evocative power.
In the following centuries, the German school became quite sterile and
manifested no other signs of originality.
109
DURER (Albrecht). 1471-1528.—
Diirer painted self-portraits right from
his youth. This Portrait of the Artist by
Himself, dated 1493, is one of the
earliest of them. He is holding a
thistle, the symbol of conjugal fidelity,
in his nervous fingers^ and it has been
thought that this picture of the young
was painted for his engagement
artist to
Agnes Frey, whom he was to marry in
1494. Goethe, after seeing an old copy
of the picture in the museum of Leipzig,
wrote, 'The Portrait of Albrecht Diirer
painted by himself in the year 1493 was
to my mind priceless.'
Taught the craft of goldsmith by his
father, all his life had a firm
Diirer
though delicate touch which was further
accentuated by the practice of engraving.
The study of the works of Mantegna
may have marked him, too, but his LUCAS CRANACH.—Venus (15 h,
incisive style and subtle psychology were

10 b, W). — Giraudon.
inherent to his character.
Scientifically and metaphysically minded, and a keen observer, Diirer
often approached Leonardo da Vinci. An excellent landscape painter, he
probably executed this water-
colour of the View of the Val
of Arco in the Tyrol on his
return from Venice. The
topographical exactitude is
shaded with poetry.
CRANACH (Lucas, known
as the Elder). 1472-1553.
Lucas Cranach the Elder
adopted a sinuously drawn
type of Venus, which became
very popular, at the court and
with the humanists of Wit-
tenberg.
DURER. —Tyrol Landscape (draw-

— Giraudon.
ing).
IIO
Tv^^^H^^HH;
^^
s
ill is1^
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^^^^^^^HBVv^^^^^Hh ^ ^
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Hk
..il
""^^H^
^ W'
DURER.— Portrait of the Artist by Himself (22 h, 17 b, C).— Giraudon.
HOLBEIN (Hans, known as the
Younger). 1497-1543. It was in—
1532 that Hans Holbein returned
to London having first stayed there
a few years before. He paint-
ed several portraits in England,
which pleased Henry VIII, who
entrusted him with a number of
public offices. Having painted the
portrait of Jane Seymour, the king's
third wife, Holbein was sent to
Germany to the castle of Diiren, to
paint the Portrait of Anne of Cleves,
whom Henry VIII was then think-
ing of marrying. When the artist
came to court with his portrait, the
monarch was pleased with it, but,
once the king had seen the princess
on her arrival in England, he was
not long in calling her the 'Flemish HOLBEIN.— Portrait of Erasmus (17 h,
13 b, W).— Hachette.
mare'. Holbein nevertheless

-^^'^ painted her gilded like a reliquary,
stilted and stupid looking.
The Portrait of Erasmus, the
great humanist, painted in 1523,
during the period when Holbein
lived at Basle, is a masterpiece of
moral and physical analysis. The
direct though discreet intimity,
and the gravity and simplicity of
the attitude show how deeply the
artist penetrated the most subtle
aspects of his model's personality.
Dressed in a furred gown and his
doctor's cap, the author of the
Praise of Folly is shown writing.
His hands, given here from the
drawing in the Louvre, have 'some-
HOLBEIN.— The Hands of Erasmus thing intellectual about them', to
(drawing) .
— Giraudon. use the words of Heinrich Heine.
112
>)«^^3j^^^|
^^^HHH^K &-. ^9
^'S
^^^^r
L /^'
,^^^ mh^jH^
HOLBEIN. —Portrait of Anne of Cleves (26 h, 19 b, C). —Giraudon.

ENGLISH SCHOOL
PAINTING was late in developing in the British Isles. In Ireland,

however, there were monks who illuminated manuscripts as early
as the seventh century. But it was only in, the sixteenth century
that the court and aristocratic society developed a taste for painting and
welcomed with all due honours two famous foreign portrait painters: the
German, Hans Holbein the Younger, and the Fleming, Anthony Mors, who
passed part of their lives in England.
However, the real founder of the English school was the Fleming, Anthony
van Dyck, in the seventeenth century, who lived for a long time in London,
oainting high society until his death. He formed some pupils, notably the
Dutchman, van der Faes, known as Sir Peter Lely.
Nevertheless, to find a really national art, the coming of William Hogarth
in the eighteenth century must be awaited. This pitiless satirist, gifted
with acute powers of observation, spiritedly stigmatized, in a series of pic-
tures with moralizing intention, the customs and vices of his contemporaries.
Hogarth also executed some character portraits.
The activities of the English school were almost exclusively devoted to por-
trait painting; landscape painting, a domain at which the English excel,
only became the object of attention at the end of the eighteenth century.
Inspiration was never drawn from Mythology, History or Religion.
The whole of the aristocracy of his time filed before the easel of Sir Joshua
Reynolds, founder of the Royal Academy. His portraits are of elegant,
learned composition but not lacking in a likeable familiarity.
Thomas Gainsborough was Reynolds' great rival. A
great colourist,
Gainsborough was also the true creator of the English landscape
school, with the views of Suffolk he painted in his youth.
A second generation of portrait painters set to work at the end of the
eighteenth century and the beginning of the nineteenth. They produced
paintings, the interest of which, although lowered by the brilliance of their pre-
decessors, is not to be neglected. Romneywas very much in fashion; Sir Henry
Raeburn represented the members of the Scotch aristocracy in a vigorous
style; John Hoppner was attracted by neo-classicism; his art, full of charm,
is a little superficial and facile; Sir Thomas Lawrence was the portrait painter
of all the European courts and enjoyed considerable renown. He managed to

portray feminine grace and childish delicacy but did not escapethe conventional.
Before affirming itself as the most original offering of Eng-
114
land to European painting,
the art of landscape painting
originally had foreign sources.
The Norwich school, with John
Crome at its head, followed the
minute, naturalist style of the
Dutch in the early years of the
nineteenth century. With the
water-colour painters, Girtin
and Cotman, began the vogue
for a which the three
style
great artists dominating the
history of English landscape
painting at the romantic epoch.
Constable, Bonington and
Turner, brought to perfection.
John Constable holds a very
important position in Euro-
pean painting. He considered
direct study from Nature of
basic importance and tried to BONINGTON.— View of the Normandy Coast
fix his impressions with great (i8 h, 15 b, C).— Giraudon.
suggestive power.
Bonington left some remarkably limpid water-colours and some equally
attractive paintings of great quality; but an early death prevented this artist
from displaying his talent to its full advantage.
Turner, a great seascape painter, was above all, like Claude Gellee, a
painter of light. But this northerner touched with romanticism, opened a
door on the domain of the imaginary by setting out from a reality penetrat-
ingly observed. His landscapes depict the phantasmagoria revealed to
his sight by the light drowned in misty wreaths or dissolving everything in
its blinding rays. He was a direct forerunner of the Impressionists and
formed the link between Claude Gellee and Claude Monet.
Visionary painters, contemporaries of the great landscape painters and
forerunners of symbolism, conceived a subjective art with its sources in the
dream. Blake was the most original and most sincere of these. He was
the forerunner of the Pre-Raphaelite school formed about 1 8^0, the principal
representatives of which were D. G. Rossetti, W. H. Hunt, J. E. Millais and
Burne- Jones. This movement claimed that it had returned to the P re-
Raphael plastic principles to illustrate literary facts with an excessively
minute realism. This last creative effort of the English school produced
no results worth mentioning.
115
REYNOLDS Joshua).
(Sir 1723-
1792. Master Hare one of Reynold's
is
most exquisite portraits. Francis George

Hare was the adopted son of the artist's
aunt, for whom the portrait was painted
in 1788. The picture later entered the
collection of Alphonse de Rothschild,
who gave it to the Louvre.
Reynolds specialized in portraits and
in 1769 became the first President of
the Royal Academy, where he exhibited
until his death. His elegant art is
the reflection of the intellectual and

aristocratic society of his time. King
George III, who rated his talent very
high, showered honours upon the artist.
HOPPNER (John). 1758-1810.—
John Hoppner, a protege of the Prince
of Wales, enjoyed the popularity of L A R E N C E. Portrait of W —
Londoners, together with Lawrence, for J. J. AngersteinandhisWife (looh,
some twenty years. Like most English 60 b, C).— Hachette.
portraitists, who have always excelled

in bringing out feminine grace and childish spontaneity, Hoppner devoted
himself to painting his contemporaries.
This Young Woman and a Little Boy
holding a cat is typical of the rather prim
and affected attitude and slightly fixed
smile he always gave his models.
LAWRENCE (Sir Thomas). 1769-
1830. — Sir Thomas Lawrence, another
went further than the
portrait painter,
latter. came back a
Visiting Paris, he
second time in 1825, and it was then
that he painted the portraits of King
Charles X of France and the Dauphin,
and was decorated with the Legion of
Honour. His Portrait of J. J. Anger-
stein and His Wife was exhibited at the
Royal Academy in 1792 and was a good
deal influenced by Reynolds, whom the
HOPPNER.— Portrait of a Young ^- j j •
u q a ;^ u^^ m
artist admired very much. her
.
Seated <-
Woman and a Little Boy (50 h,

39 b, €).— Giraudon. park, Mrs. Angerstein is looking up ad-
116
^K^^^^^ "«m^ .
J
^^^^^Hk '^^^VPS^^ J^KK^m 1
iivm
^^^X '
ii'
r
^^^^^^1
^^^^H
^H '^^
'^^B
"^
REYNOLDS.— Portrait of Master Hare (30 h, 24 b, C).— Hachette.
miringly at her husband
standing beside her with
a tenderness and sen-
timentality that already
belongs to the Romantic
School. These charm-
ing and subtle, if a
little superficial por-
traits,were extremely
popular in their day.
The English landscape

CONSTABLE. — Sky Study (water-colour). painters had enormous
Hachette. influence on nineteenth
century French painters.
Most of them did water-colours as well as oil paintings, and this fluid,
transparent and very spontaneous technique enchanted the romantics on
the other side of the Channel. The limpidity of the skies and mobility
of the clouds in Constable's water-colours (see his Sky Study) are to
be found again in some of Delacroix's sky studies. It is well known
that the latter repainted the whole of the background of his great pain-
ting, The Massacre at Scio, after seeing Constable's Haywain at the
Salon of 1824.
CONSTABLE (John). 1776-1837.— The storm effects in the View
of Hampstead Heath show the English artist's taste for vast horizons
with subtle analyses of light. His generous, compact touch here is
in sharp contrast with his light

and vaporous watercolour
technique.
BONINGTON (Richard
Parkes). 1802-1828.— Bo-
nington, who died at the age
of twenty-six, came very young
to Paris, where he worked at
the Louvre and the £cole des
Beaux-Arts, in the studio of
Gros. The View of the Park
of Versailles, with its great
windswept sky, and sense of
space is typical of the rom-
CONSTABLE.-View . of Hampstead Heath:
antic landscape which now sôrm effect (10 h, 14 b, C).—Archives Photo-
came into vogue. graphiques de France.
118
BONINGTON.— The Park of Versailles (17 h, 20 b, C).— Hachette.
FRENCH SCHOOL
THE FIRST important centre of French art was in Paris in the fourteenth
century at the courts of Charles V
and Charles VI. French illu-
minators and painters vied with foreign ones. The Portrait of Jean
le Bon attributed to Girardof Orleansshows the beginning of the art of portrait
painting, in which the French genius, burning after psychological truth^
particularly and continuously excelled. The frontal cloth of Charles V,
known as the Altar front of Narbonne, also belongs to the Paris school,
together with various small panels of elegant form, delicately coloured and
with a sort of preciousness which does not exclude some realistic elements.
At the end of the fourteenth century, a Franco- Flemish centre grew up
around the Chartreuse de Champmol in Burgundy ; its art sought after
truth and showed a taste for familiar details and compositions, sometimes a
little too crowded.
The school of Avignon — which included the whole of Provence as far as
—
Nice developed briskly. The Popes who had settled in Avignon during
the first half of the fourteenth century sent for
Italian artists, who exercised an
influence on
French A
powerfully realistic art de-
art.
veloped at the court of the king Rene at Aix,
mixing together elements from the northern
countries and from Italy; the anonymous
masterpiece of this school is the Triptych of
the Annunciation (Madeleine church, Aix)
In the second half of the fifteenth century,
two artists dominated the Avignon school:
Enguerrand Charonton with the Coronation
of the Virgin (Villeneuve-les- Avignon) and
Nicolas Froment with the Burning Bush
(Aix cathedral) However, one of the greatest
.
masterpieces of the times remains the Pieta

(Louvre) , an anonymous work from Ville-
neuve-les- Avignon.
In Touraine and on the banks of the Loire
at Charles VII's court, French painting ^^„^^, ^^^^^,r. ,
,, . ,
uu J T7 . D .t SCHOOL OF PARIS c. 1360-
attained a peak with ,
Jean Fouquet. Both Bon.
1 364). —Portrait of Jean le
in his illuminations of manuscripts, of —Hachette.
120
.
which Heures d'£tienne Chevalier

the
are the most inestimable treasure, and in
his paintings, Fouquet personified the
French genius in all its sensitiveness and
poetic gravity. This precursor in the
landscape domain was also a portrait
painter of incisive, clear style and of sober
realism.
.The period directly preceding the Re-
naissance terminates in the Bourbonnais
with the master of Moulins, whose work
has a harmonious quietness, making it
resemble that of Ghirlandajo or Memling.
The Italian wars increased Italian
influence in France at the beginning of
the sixteenth century and, when Francis I
set up his court at Fontainebleau, he sent
for ultramontane artists to decorate his

castle; amongst them were Rosso, from SCHOOL OF FONTAINEBLEAU
Florence, and Primatice, the mannerist (sixteenth century). —
Diana the
Huntress (76 h,52 b, W).— Hachette.
from Bologna. Some French artists
worked under this Italian current but kept
a personal style : the Cousins and Antoine Caron. Their works include
frequent allegorical or mythological allusions. Mythology allowed them to
glorify Henry II's mistress, Diane of Poitiers, as all good courtiers should;
their representations of Diane were numerous, one of the most famous
being an anonymous painting Diana the Huntress (Louvre)
Under Henry IV, the school of Fontainebleau blossomed a second time,
but not as brilliantly as before.
Side by side with the Italian-inspired Fontainebleau school, a purely
national art grew up in France, the art portrait painting carrying on
Fouquet and the traditions of his predecessors. Its originality lay in the
preparation of pencil sketches, lightly set off with red and ochre, and which
are often highly superior to the paintings themselves. Jean and Frangois
Clouet were masters in this art. Their rival Corneille de Lyon specialized
in small-sized portraits. Hardly anything but pencil sketches of the last
Dumons-
portrait painters of the Valois court, Jean Decourt of Limoges, the
tiers, the Quesnels and Pierre Lagneau, is known.
In the seventeenth century, French artists were as a rule very little attracted
by Italian baroque. However, in the reign of Louis XIII, a realist current
of popular inspiration developed side by side with the official art of classical
tendency; in this current, the infiuence of Caravaggio can sometimes be
121
discerned. Several painters of lesser importance stand out for mention.
Le Valentin, known as Bon Boallogne, was Caravaggio's most faithful
disciple. Georges de La Tour had a leaning towards nocturnal scenes with
contrasted lighting effects directly borrowed from Caravaggio's art. But his
figures, which are not exteriorized and seem disincarnated, are not in the
least baroque. The three brothers Le Main devoted themselves to represent-
ing family life; Antoine and Mathieu to portraits and scenes o/ genre;
and Louis, who was the most gifted, to intimate peasant compositions. This
latter expressed, better than anyone else, the grandeur and dignity of those
who live on the soil. Philippe de Champaigne was both the promoter of
the official portrait, where the model's official function is shown at the same
time as his character, and the iconographer of Jansenism, the austere spirit
of which he managed to understand.
As stated above, another current was running through French painting at
the same epoch, fed on classical traditions borrowed from the great Italian
Renaissance masters and notably from Raphael. Simon Vouet brought
back from Rome the taste for large compositions of religious or mythological
inspiration, whilst Le Sueur, his pupil, who had never been to Italy, studied
Raphael's work from engravings and was both a great religious painter —
painting particularly Scenes
from the Life of Saint Bruno
(Louvre) for the Carthusians
— and a great decorator.
The genius who dominated
the whole of French painting at
this time and whoy nevertheless
passed practically all his life
in Rome was the Norman,
Nicolas Poussin. His highly
intellectual art is full of
balance and harmony. His
philosophical thought did not
stifle his poetic sensitivity
which is particularly acute where
Nature is concerned. From
1 6 48 onwards, landscape paint-
ing became a very important
part of his work. According
to the classical conception, he
did not merely depict Nature,
1
LE NAIN.- -A Blacksmith at his Forge (27 h, ^"^ ""^'^^^ '^ "^^'^^ « ^^'"^^ '^
22 b, C). Hachette. which Man played a role and
122
participated in the universal rhythm.
Claude Gellee, an artist from Lor-
raine, also spent the major part of his
life working in Rome. Exclusively a
landscape painter, he still associated
Man with Nature, hut much more
anecdotically than Poussin. His art
is a direct prelude to Corot's and the
Impressionists' , for he tried above all
to depict light, its reflection on water
and the atmosphere.
In Louis XIV's reign, the sole aim
of art was to glorify the king and the
prevailing esthetic ideal was academic
eclecticism. Colbert managed to un-
earth the man who was to hold sway
over all the artistic domains: Charles
Le Brun. He was a pupil of Vouet
and formed his style in Italy; on his
PHILIPPE DE CHAMPAIGNS.—
return to France in 1646, he became
Portrait of Richelieu (87 h, 61 b, C).
the king's first painter and founded — Hachette.
the Royal Academy of Painting and
Sculpture in 1648. He supervised all the work at Versailles where
he did some big decorations (Ambassadors' Staircase, Galerie des
Glaces) and moreover directed the Gobelin tapestry manufacture and
created the French Academy in 1666 in Rome. On his death in l6^0,
he was succeeded by his rival Mignard in all these offices, which were
fulfilled by him in the same spirit. He specialized in the art of portrait
painting, but his masterpiece is the inner decoration of the Val-de-
Grdce cupola in Paris.
At the end of the seventeenth century, there was an important change of
taste. At Academy a quarrel arose between the Poussin adherents,
the
partisans of sketching and classical theories and Rubens' admirers partisans ,
of colour and baroque exaltation. The Rubens group triumphed in 1 6pp.

The portrait painters, Rigaud and Largilliere, and the decorators, Jouvenet,
Antoine Coypel and Charles de La Fosse formed part of this current but
each conserved certain aspects of the pomp of Versailles.
With the dawn of the eighteenth century came an art full of sensitivity
and poetry, represented by Antoine Watteau, who opened up new horizons
to French painting; he abandoned historic and religious painting and big
decorative pieces, for subjects inspired from the theatre, but transposed into
a fairy-like dream world. He also introduced in France the painting of
123
fetes galantes, which had such great vogue
throughout the century. Watteau, a deli-
cate colourist and remarkable sketcher,
painted and drew most spontaneously.
In the Enseigne de Gersaint (Charlotten-
burg Palace, Berlin) he happily reconciled
realism and style, those two poles of
attraction ofFrench painting.
Decorative painting occupies a prepon-
derant place in the eighteenth century.
Whilst two of Watteau's pupils, Lancret
and Pater continued in
, their master' s style,
the Italian tradition inspired painters like
de Troy, Lemoyne, Charles Coypel and
especially —
Boucher one of the greatest
—
French decorators with their themes bor-
WATTEAU.— The Indifferent (10 h, rowed from mythology; nymphs, Venuses
8 b, W).— Hachette. and Cupids abound in their work. A
realist current which sprang from Flemish
and Dutch came to light alongside this brilliantly and superficially
influence
elegant The animal painters, Desportes and Oudry, then
painting.
brought hunting scenes into fashion and executed fine still lifes. But
those of Chardin surpass them for their moving poetry in which
everyday objects seem endowed with their own life. Chardin also painted
lower middle-class daily life with a sense of intimacy and truth rarely
attained.
The portrait painters were part of this realist vein; Tocque, Aved, Duples-
sisand Perroneau are amongst the best. Pastel portraits then became very
important under the impulsion of Maurice Quentin de La Tour, This
rigourous observer brings all the personalities of Louis XV's reign back
to life for us and makes both their countenances and characters familiar
to us.
It might be said that Honore Fragonard, a pupil of Boucher, closes the
cycle opened by Watteau. But this painter of love was less a poet than
his predecessor. He was more flighty and specialized in gallant and even
libertine subjects depicted with a bewildering verve and dash. He was
marvellous at incarnating the spirit of this amiable, happy-go-lucky society
for which he worked. Greuze was reacting against the art of a Boucher or
a Fragonard when he interpreted Jean-Jacques Rousseau's or Diderot's
edifying and moralizing theories. With him, ideology slipped into painting.
The landscape, which in Louis XV' s reign was used only for decorative
purposes, evolved towards a greater naturalism during the eighteenth century.
124
,
Hubert Robert, Joseph Vernet and Louis-Gabriel Moreau proved themselves

to be sincere observers gifted with great poetic sensitivity.
Already in the middle of the century, the taste for Antiquity was accom-
panied by a return to classical composition, the fine ideal and the creed of
grandeur. Vien formed in his studio the man who was to be the great
reformer of painting, Louis David. His Oath of the Horatii of 1785 is the
manifesto of a new school, the neo-classical school, the only aim of which
is not to please. David, a supporter of the Revolution andthen of the Empire,
depicted current events, in epic style, side by side with subjects from An-
cient History. His esthetic is based on the predominance of drawing over
colour and composition considered in the form of a Roman-Greek bas-relief.
This doctrinarian was also an admirable portrait painter.
Certain of his disciples, like Gerard, Girodet and Guerin, never lost the
imprint of their master David. Applying his principles to the letter, they
did not escape cold academicism. The one exception was the sensitive and
instinctive Prud'hon, who, whilst sharing David's love of Antiquity,
managed to keep the poetic charm of the eighteenth century.
was during David's actual lifetime and in his immediate neighbourhood,

It
since it was by one of his pupils, that the reaction against his inflexible dog-
matism was begun. Gros, torn between his romantic aspirations and the
imperative teaching of his master, could find no remedy but suicide. The
powerful temperament of Gericault allowed him to infuse passion and life
into his classical formation. His Radeau de la Meduse in i8ip was the
first manifestation of
Romanticism which was
to triumph some years
later; a premature death
prevented the artist from
being the leader of this
movement.
This role fell to the lot
of Eugene Delacroix, one
of the greatest masters
of French painting
whose work is immense.
After studying under
Guerin, Delacroix went
to Rubens, the Venetians
and Constable for further
lessons. In his work,
movement and dramatic pruD'HON.—Justice and Vengeance Pursuing Crime
intensity are predomi- (96 h, 115 b, C).— Giraudon.
125
nant; line is sacrificed to colour, the richness of which engenders expression.
His sources of inspiration are the Middle Ages or oriental civilization;
he made a journey to Morocco and Algeria in 1 8 32. His feverish
imagination, controlled by a lucid intelligence, was more and more tempered
by classicism towards the end of his career, and his big decorations drew their
inspiration from ancient culture.
To Delacroix's romanticism was opposed the classicism of his rival
Ingres, the greatest of David's disciples. Ingres shared his master's ideas
on the fine ideal but, with him, the influence of Greek vases and Raphael
fought against that of antique statuary. A
very great portrait painter and
an admirable sketcher, but a cold decorator, Ingres placed great importance
in refining line
and purifying his
arabesques. His
very personal style
is not lacking in
mannerism.
His pupil,
Chasseriau, tried
to unite his mas-
ter'sstyle with
Delacroix's ro-
manticism. He
was a member oj
the group of paint-
ers called 'orien-
talists' most
(the
important of them
being, together
INGRES.— The Apotheosis of Homer (152 h, 202 b, C). with him. De-
Hachette.
camps) who, fol-
lowing Delacroix's
example, went and sought their subjects in Morocco, Algeria, Greece or
Asia Minor.
In nineteenth century painting, the landscape occupies an important
position. Two tendencies rubbed elbows at this time. Camille Corot, one
of the greatest landscape painters of all time, was a classicist; his art is
linked up with Claude Gellee's and foseph Vernet's. He peopled his
allegorical and mythological compositions with figures and nearly
always associated Man with the landscape. Corot belongs to this epoch
when, under the influence of literature. Nature was studied straight from
life; Corot managed to unite, as a poet, his lyrical aspirations and classical
126
balance, always manifesting a love of order and an essentially French
sense of measure. From i860 onwards, in his melancholy landscapes,
he tried to translate the play of reflections on water and the mirage of diffused
light, and was the herald of impressionism.
The second landscape tendency, more realistic this time, came from the
seventeenth century Dutch, notably from Ruysdael or Hobbema. These
artists liked rendering,
with fresh comprehen-
sion, the pathetic aspects
of a Nature that is tor-
mented but in accord
with their romantic vehe-
mence. Preceded by
Georges Michel, who
may be considered as the
father of the romantic
landscape with contrasted
light effects, the Barbizon
school grouped itself
around Theodore Rous-
seau, Jules Dupre, Nar-
cisse Diaz, Troy on,
Daubigny and others
towards 1830. MILLET. -The Angelus (22 h, 26 b, C).
But the term of realist Giraudon.
school is especially linked
with the movement away from Romanticism towards 1848. Abandoning
historical, legendary or exotic subjects, the painters drew their inspiration
from real things. More or less imbibed with socialist and humanitarian
theories, they became misery and their works
the interpreters of the people's
have a note of claims to social rights. Daumier, who was primarily a
sketcher and lithographer and only came to painting later on, was above
all a satirist. He leaned towards the poverty of small people of industrial
towns and stigmatized bourgeois egoism. Millet exalted rural life and
work in the fields; he studied the peasants with great sincerity and intro-
duced a religious note into his canvases. Courbet aspired to be the defender
of the working classes. If one sets aside his biased themes, his work has the
rich and full style of a great painter. His landscapes in which he glorifies
,
trees, sea, and sky, with a great love for the earth, and in which his brush
captures the light, make him an immediate forerunner of the Impressionists.
The Impressionist school and the painters succeeding it are not represented
at the Louvre, but in two other museums exclusively given over to them.
127
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128
FOUQUET (Jean). 1420
—
(?)-i48o (?). Fouquet was
one of the master illuminators
of France — and his Passing the
Rubicon was part of a series
designed to illustrate the man-
uscript of an Ancient History I
to Caesar and the Deeds of the
Romans.
Fouquet came from Tou-
raine and loved nature, and
he was one of the first to paint
it with so* much poetry. He
analysed the particular light
and atmosphere of the land-
scape he was painting and tried
to find a harmony in the rhythm
of the hills and the curve of the
rivers. He was thus one of the
forerunners of Claude Gellee
FOUQUET.—Portrait of Charles VII (34 h,
and Corot (seethe latter's View 28 b, W).— Bulloz.
of Tivoli, painted in 1843).
Jean Fouquet was not only a landscape painter, but also a portraitist, thus
leaving examples of two specifically French types of art. His Portrait of
Charles VII is not the work of a courtier, but of an attentive observer, though
he nevertheless left out the details dear to the Flemish, so as not to reveal the
less attractive side of his model's character in all its complexity and truth.
COROT.— View of Tivoli:

the gardens of the Villa
d'Este (17 h, 24 b, C).
—Archives Photogra-
phiques de France.
130
FOUQUET. —Passing the Rubicon (17 h, 13 b, illumination on velum). — Hachette.
CLOUET (Frangois). Before
—
1520-1572. During the reign of
Frangois I and those of his successors,
with their brilliant courts and pomp,
painted or crayon portraits came
into fashion. Princes and courtiers
alike all wanted their pictures
painted.
The Clouet family came from
Flanders, but Francois, the son of
Jean, was born at Tours. At the
death of the latter, in 1541, he suc-
ceeded him in his office of painter
ordinary to the king. He enjoyed
immense celebrity and Ronsard called
him 'the honour of our France'.
His work includes both painted por-
traits and also a number of crayon
CLOUET.— Portrait of Pierre Quthe drawings, generally in black and red
(36 h, 28 b, W).— Hachette. chalk. Elizabeth of Austria, the
daughter of the Emperor Maximi-
lian n, who was married in 1570 to
Charles IX, is shown with great
psychological finesse. These two
works are enough to show the
Fleming in Clouet.
Outside its artistic merits, the
Portrait of Pierre Quthe is of great
interest, for the work is signed and
dated 1562. The model, a burgher
of Paris, was a well known apothe-
cary and a friend of the painter.
CORNEILLE DE LYON. First

quarter of the i6th century- 1575 ( ?).
— About the same period, Corneille
de Lyon, who also came from the
North of France, painted his very
small portraits, generally on a light
CORNEILLE DE LYON.— Portrait of blue or green background, which are
the Count de Cosse-Brissac
very close to. German realistic paint-
(7 h, 6 h, W).—
Archives Photographiques de France. ings, like this Portrait of a Man.
132
I
CLOUET. — Portrait of Elizabeth of Austria, Queen of France (14 h, 11 b, W),
Hachette.
LA TOUR.— Saint Joseph the
Carpenter (54 h, 40 b, C).
— Archives Photographiques.
LA TOUR (Georges de). —

1593- 1652. Spirituality, poetry and realism
are the essential characteristics of the Mary Magdalene by cand-
lelight and, indeed, all the works of Georges de La Tour. This
artist from Lorraine had an art of great sobriety. Although he was
attracted by certain aspects of Carravaggio's technique, he was never-
theless very far from purely Baroque tendencies. To La Tour, the use of
artificial light in the Italian style was not only the major question of a
—
purely visual problem what is known as luminism it was a means —
of creating a mysterious atmosphere. The zones of light give the figures
a mystical immateriality.
This isthe case for his Saint Joseph the Carpenter, in which the artist
set the rough workman with muscles strained and features twisted in
effort beside the Child Jesus, whose face is diaphanous and spiritualized
by the candlelight.
For many years, the name of Georges de La Tour was almost forgotten,
and his paintings were attributed to various Spanish masters, from whom
he is nevertheless very different.
134
LA TOUR. — The 'Madeleine a la Veilleuse' (Mary Magdalene by candlelight) (50 h,
CHARDIN.— The Attributes of Music
—Archives Photographiques de France.
(36 h, 57 b, C).
^
BAUGIN. Worked around 1630.— The term 'still life' in its
at Paris
fullest meaning applies works of Baugin. The choice of objects in
to the
his painting, The Five Senses, was not at all arbitrary they illustrate an —
allegory. The bread and the glass stand
for taste, the lute for hearing, the flowers
for smell, the mirror on the wall for
sight, and the velvet purse, the cards
and the chequers for touch.
Baugin, like Chardin (see The Attri-
butes of Music) and Cezanne after him,
tried to express above all the inner
quality and *
soul '
of things, and not
only their material appearance, like the
minor Dutch masters. Compare this
work with Heem's very detailed Still
Life, in which realism goes right to
still-life deception.
DE HEEM.— Still Life

136
BAUGIN.—The Five Senses (22 h, 29 b, W).— Hachette.
LE NAIN.— The Peasant Family (44 h, 63 b, C).— Hachette.
LE NAIN (Louis). 1593 (?)-i648.— In the reign of Louis XIII, a

family of artists from Laon made a number of paintings of daily life in the
Flemish style, though they are full of distinctly French sensitivity. Louis,
the most brilliant of the three brothers Le Nain, liked painting rustic
scenes in which the simplicity of peasant life appears in all its truth and
grandeur. He was the first to give an intimate atmosphere to French art
of this kind.
His picture, The Peasant Family^ shows the family meal in the home
after the day's hard work out in the fields. The father, in the centre,
who has a face that is full of common sense, is cutting the great loaf, while
the children behind him are warming themselves over the fire. On the
left, sitting holding a glass of wine, is an old woman with a calm and
resigned look full of the most wonderful grave serenity. The extremely
limited colour scheme, with brown and beige tones for the most part,
accentuates the simplicity of the scene.
Louis Le Nain attained heights in the painting of subjects of a purely
anecdotical type which neither the Flemish and Dutch artists of the same
period, nor the social-minded French realists of the nineteenth century,
such as Millet and Courbet, ever reached.
138
LE NAIN. —The Peasant Family (detail).— Hachette.
CHAMPAIGNE (Philippe de). 1602-1674. —Philippe de Champaigne
arrived in Paris in 1621 from Flanders, to work on the decoration of the
Luxembourg Palace with the Flemish colony. Painter to Mary of Medici
and then to the king, he was one of the greatest portraitists of the day
and became a kind of historian of Jansenism. This portrait said to be
that of Arnaud d'Andilly, is one of his masterpieces. He displayed
PHILIPPE DE CHAMPAIGNE.— The Ex-Voto of 1662 (65 h, 89 b, C).

— Hachette.
skill and psychological insight in painting not only the physical resem-
blance of his models, but also their role in society and their true character. \
All the austerity and rigour of Jansenism can be seen in this Ex-Voto
which Philippe de Champaigne painted in 1662 as a thanksgiving for the
miraculous healing of his daughter. Sister Catherine of Saint Suzanne,
who was a nun at Port-Royal des Champs. Within the bare setting of the
convent cell, the radiant, humanly joyful face of Mother Agnes Arnauld,
who is shown kneeling in thanksgiving for the miracle, contrasts with the
ecstatic expression of the artist's daughter.
Through his works, the Grand Steele of Descartes, Pascal and Saint-
—
Cyran who represent a whole moral philosophy which was not
without great fervour and even lyrism, for all its apparent severity — lives
again.
140
]
PHILIPPE DE CHAMPAIGNE.— Portrait said to be that of Robert Arnauld d'An-
dilly (35 h, 28 b, C).— Hachette.
r-rc
LE SUEUR.—The Death
of Saint Bruno
(76 h, 51 b, C).
— Hachette.
i
—
LE SUEUR (Eustache). 161 6- 1655. The group of twenty-two
compositions for the Carthusians, illustrating the life of Saint Bruno, are
distinct from the rest of Le Sueur's religious paintings. The main piece
is the Death of Saint Bruno, in which the bareness and simplicity of
the setting express monastic severity, though tempered with human

kindness.
This painter, though he never went to Italy, was deeply influenced by
the Italians, Raphael in particular, whose work he studied through
engravings.
Le Sueur was also one of the great decorators of his time, and his paint-
ings for the Cabinet des Muses in the Hotel Lambert, which are very close
to Raphael's Parnassus, are the best examples of his work of this type.
142
LE SUEUR. —The Muses: Melpomene, Erato and Polymnia (51 h, 51 b, W),
Hachette.
POUSSIN.—The Arcadi-
an Shepherds (33 h,
POUSSIN (Nicolas). —
1594-1665. Nicolas Poussin tried to render both
the plastic beauty of form and its inner spirituality.
His Arcadian Shepherds brings to mind ancient sculpture. The

balanced, static composition also reveals Raphaelite influence. The
subject has a moral and philosophical meaning: the four shepherds
are reading the inscription Et in Arcadia ego (' I, too, was in Arcadia ')
and are meditating on the briefness of life.
The Inspiration of the Poet, one of Poussin's masterpieces, is monu-
mental in conception, and the Muse, with her fine classical serenity, is
one of the artist's most admirable figures.
The Bacchanal reveals the great complexity of this painter, and
Titian's voluptuous
sensuality can be seen
here.
POUSSIN.—The Inspi-
ration of the Poet {ss h,
—
84 b, C). Hachette.
144
POUSSIN.— Bacchanal (38 h, 54 b, C).— Hachette.
4
GELLÊ (Claude, known as
Lorrain). 1600-1682. In his —
Ulysses Giving Chryseis back
to Her Father, Claude Gellee,
also known as Claude Lorrain,
for he was born in Lorraine,
made a study of light and
its reflections. The artist was
one of the first in the history of
landscape painting to study
the sun's luminous intensity,
the subtilities of atmosphere
and theshimmering of re-
CLAUDE GELLEE.— The Castle of Bracciano
flections on water. He may in the Setting Sun — Hachette.
thus be said to be one of
the great forerunners of Impressionism. Claude Monet owes him a
great deal, for his Bridge at Argenteuil in particular, for the glistening
of the water, the flashing of the sun, the quivering of the leaves in the
wind —all that is ephemeral and evanescent. Claude Gellee nevertheless
'composed' his landscape, trying to find a rhythm in architecture or
nature, while only the spontaneous visual impression counted for
Claude Monet.
When Lorrain drew directly from nature, in ink or sepia, he indicated
distance, volume and reflections by contrasts of light and shade, as in this
Castle of Bracciano (?) in the Setting Sun.
MONET.—The Bridge at
Argenteuil (24 h, 31 b,
C).— Giraudon.
148
—
CLAUDE GELLEE.- -Ulysses Giving Chryseis back to Her Father (46 h, 59 b, C).
Hachette.
LE BRUN (Charles). 1619-1690.—
Charles Le Brun is often thought of as
the academic painter of the reign of
Louis XIV, full of formulae and theories.
Yet, the composition of his Chancellor
Siguier at the Procession of Queen
Marie-Therese intoParis (28th of
August, 1660) is as balanced as a bas-
relief; the picture is the size of a great

decoration, but, for all that, it is painted
with much psychological perception.
Chancellor Seguier was the first protector
of the painter, who later went into the
service of Fouquet, then of Colbert and
finally of the king. Le Brun was a veri-
table dictator of the arts in his time and
LE BRUN.— Portrait of the Mar-
it was he who founded the Academic
quise de Brinvilliers (drawing).
Giraudon. Royale de Peinture et de Sculpture in 1 648.
MIGNARD (Pierre). 161 2- 1695. —

When Louvois succeeded Col-
bert, Pierre Mignard, Le Brun's great rival, took over all the latter's
functions. Mignard, who had spent many years in Rome, was known
as the '
Roman '. He proved himself to be above all a skilful portrait
painter, as this Portrait of the Grand Dauphin and his Family shows;
in the background is the cupola of the Val-de-Grace, the decorations of
which may be considered as his masterpiece.
MIGNARD.— Port-
rait of the Grand
Dauphin and His
Family (91 h, 124
b, C). — Giraudon.
150
•I
LE BRUN. —The Chancellor Seguier at the Procession of Queen Marie-Therese
—
into Paris (ii6 h, 138 b, C). Giraudon.
NANTEUIL (Robert). 1623 ( ?)-
1678. — Robert Nanteuil, etcher and
pastellist from Rheims, tried to
penetrate models' characters
his
by direct conversational contact,
thereby continuing the tradition of
the French Renaissance portrait-
painters. His Portrait of Turenne,
conceived in this spirit, shows how
keen were his powers of observation.
RIGAUD (Hyacinthe). 1659-
1743. — Hyacinthe Rigaud was
the official portrait-painter of
Louis XIV, the Regency and the
early years of Louis XV. Pictures
were painted in his large studio to the
glory of the King and various Court
personalities. In the Portrait of
Louis XIV, it is obvious that the
artist has endeavoured to emphasize
his illustrious subject's
RIGAUD.— Portrait of Louis XIV
official
(109 h, 75 b, C). —
Archives Photogra-
phiques de France.
function. Nevertheless, in the

countenance, painted straight from
life onto a small rectangular
canvas and afterwards fitted into
the completed composition, he has
left the ostentatious sovereign
to one side, revealing the man
underneath.
LARGILLIERE (Nicolas de).
1656- 1 746. —
Largilliere did not fre-
quent the Court, but rather the
upper middle classes, the Parlia-
mentary world and Law circles.
'
You don't have so much bother ',
he would say, and you get paid

'
quicker. To satisfy such clients

'
as the President de Laage, he used

NANTEUIL.— Portrait of Turenne,
Marshall of France (pastel; 18 h, 14 b).
costume effect, which may make
—Hachette. a man noble, to all appearances.
152
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— Hachette.
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WATTEAU.— Studies of Heads (drawing).— Hachette.
In his sketches, Watteau, with small, rapid, incisive strokes and

vibrating accents, captured an expression, a gesture, an attitude and
endowed them with eternal life, as in his Studies of Heads.
LANCRET (Nicolas). 1690- 1743.

—With GilleSyan actor from the
Italian comedy that both Watteau
and Lancret painted, the distance
between the master's genius and the
disciple's talent can be measured.
Lancret gave a faithful rendering of
a group of actors, assembled in rather
an artificial composition, whilst
Watteau succeeded in expressing
himself personally as an artist, and a
poet, through this motionless Pierrot.
His companions' sarcastic remarks
do not reach this simple Simon in
* '
trousers too short for him and with

,..T^r^r.-^ ^.,, . sleeves too long, whose distant gaze,
LANCRET.— Gilles
, ,
and the Actors
r
of , ,.,f' ^ . , ,
the Italian Comedy (10 h, 9 b, W).- dreamy and illummated, appears to

Archives Photographiques de France. see beyond the world of reality.
156
t f
WATTEAU.— Gilles (72 h, 59 b, C).— Hachette.
LA TOUR (Maurice Quen-
tin de). 1704-1788. Mau- —
rice Quentin de La Tour, aban-
doning the stateportrait, was
more preoccupied with philo-
sophical and psychological
analysis. This artist was
a specialist in the pastel tech-
nique, brought back into favour
by the Venetian, Rosalba Car-
riera, at the beginning of the
eighteenth century. Despite
this colour powder
its frailty,
has conserved its lustre

through, the ages and this
rapid and light process allows
life to be conjured up
before the eyes in all its
mobility and diversity.

LA TOUR. — Portrait of the Count de Provence
One of his most accom-

as a Child (pastel; 20 h, 14 b). —
Hachette.
plished and captivating portraits is the Portrait of the Marquise

de Pompadour, of exceptional size for
this master's work. All the charm
and grace of the favourite, combined
with a likeable majesty, are rendered
here with the greatest delicacy.
In the Portrait of the Count de
Provence as a Child, childish
spontaneity is perfectly suggested,
despite the officialdom recalled by
the blue ribbon and the badge of the
Order of the Holy Spirit.
PERRONEAU (Jean- Baptiste).
—
1715-1783. Perroneau, like La
Tour, is one of the most celebrated
pastellists of the eighteenth century.
His style is more piquant and
he also remains a subtle psychol-
ogist, towhich this admirable
Portrait of van Robais, a rich
PERRONEAU.— Portrait of Abraham
van Robais Abbeville manufacturer and patron
(pastel; 29 h, 23 b).
Hachette. of the Arts, bears witness.
158
LA TOUR. — Portrait of the Marqui-e de rompadour (pastel; 69 h, 50 b). — Vizzavona.
BOUCHER (Francois). 1703-1770.
— Diana's Bath, considered as one of
Boucher's finest works, shows how, after
Watteau, nude painting evolved towards
a much more decorative form. Indeed,
Boucher turned mythology into a scene
of genre, often a pretext for libertinage,
and his 'subjects' were much in fashion
for ornamenting boudoirs during his life-
time. This Diane of a rare beauty, with
a milk and rose complexion, but whose
prettiness is perhaps a little insipid, is
framed in a conventional landscape which
is only for decoration.
His rural scenes, such as The Windmill,
sometimes
superficial and somewhat
were very well-known and
theatrical,
seem to announce the frolics of Marie-
BOUCHER.—Woman Seated in Antoinette the
Trianon. The theme is
Spanish Costume (drawing). Ar- —
probably
at
inspired from the comic-opera
chives Photographiques de France.
of his day. Boucher borrows the artifi-
ciality and picturesqueness from it and, once again, the landscape is a mere
background. He thus made Watteau's dreamy fetes galantes degenerate
into 'pastorals' of sentimental composition, in which swains, clothed
in satin, court lively laundresses. These paintings were often used as
'
models' by the Beauvais and Gobelin tapestry makers.
In his sketch, Woman Seated in Spanish Costume, Boucher hardly
noticed anything but the
worldly affectation of
his model.
BOUCHER.— The Windmill

(26 h, sz b, C). — Giraudon.
160
BOUCHER.— Diana's Bath (22 h, 29 b, C).— Hachette.
Boucher's Breakfast, we appreciate
at its full value Chardin's remark,
*
You don't paint with colours but
with feelings. '
Boucher's attent-
ion is directed towards the objects,
whilst his figures are only well-
organized supernumeraries.
From the iconographical point of
view, his work provides valuable
documentation on the history of
customs, for the furnishings and
costumes are rendered in the
minutest detail.
Chardin's paintings, on the con-
trary express a mother's tenderness,
a child's malicious spontaneity or
sulky good behaviour.
CHARDIN.- -Grace (19 h, 15 b, C).-

Giraudon.
CHARDIN (Jean-Baptiste-
Simeon). 1699- 1779. —
Chardin, a
realist, remains, together with Wat-
teau, one of the greatest poets of
eighteenth century French painting.
The Child with a Top is both a
portrait and an intimate composi-
tion. Like the Flemish and the
Dutch, Chardin used to like por-
traying contemporary middle-class
every-day charm and
life in all its
tranquillity. But he knew how

to rise above the simple anecdote
in these scenes of genre by trans-
figuring the minor details of ordi-
nary life; thus, he has been able to
capture convincingly the attentive
regard of this schoolboy immersed
in his game. BOUCHER.— Breakfast (32 h, 26 b,
On comparing the Grace with C).— Hachette.
162
J
CHARDIN.— The Child with a Top (27 h, 30 b, C).— Hachette.
Each of the objects in Chardin's
still-Hfes 'Hves' both in its own
right and through the reflection of
the surrounding objects. This artist
did not Hmit himself to merely de-
picting the material appearance of
things, but brought out their pecul-
iar essence, endowing them with a
familiar poetry. Light and values
play a big part here and, well in
advance of the Impressionists, he
used the optical mixture of tones
from time to time; to give violet, for
example, he juxtaposed small dabs of
blue and red and the spectator's eye
recomposes the violet.
Cezanne (1839-1906) alone was to
CHARDIN.—Portrait of the Artist be able to give the object its own silent
known as the one with the green '
life and here we can see the undeniable

shade' (pastel; 18 h, 15 b).— Hachette.
relation between two paintings by
these artists: Still Life with Onions,
and Left-over from Lunch, where there is the same rhythm of composition
(compare the cloths in particular) and the colours are likewise shaded
by juxtaposing strokes.
Chardin was likewise a pastellist and in his Self-Portrait we can
appreciate his gift of introspection.
CEZANNE.— Still Life with

Onions (25 h, 32 b, C).
Giraudon.
164
CHARDIN.— Left-over from Lunch (15 h, 18 b, C).— Hachette.
FRAGONARD.— Study (32 h,
22 b, C). —Archives Photogra-
phiques de France.
FRAGONARD (Jean-Ho-
nore). 1732-1806. The —
Music Lesson was a pretext
for Fragonard to paint two
young people in amorous con-
versation. This intimate
scene is drawn directly from
life, and the artist, with the

astonishing rapidity of his
strokes, knew how to suggest
the mobility of expressions and
gestures. The term 'fa-pres-
to', though used without any
pejorative intention, fits him
like a glove.Fragonard seems
to have borrowed his liberty of
style and his frankness from
Frans Hals like the latter, he
;
painted 'character portraits'

such as Study reproduced here.
Indeed, this is no mere por-
trait, but rather a work sym-
bolical of an attitude, an
occupation, or suggesting a
thought. Such is the case
also of the very fine sketch
of Reading or Conversation^
forwhich Fragonard's models
were his wife and his sister-
in-law. Marguerite Gerard.
FRAGONARD.— Reading (draw-

ing). — Giraudon.
166
FRAGONARD. —The Music Lesson (43 h, 47 b, C).— Hachette.
Life, with its turbu-
lent and joyous move-
ment, always seduced
Fragonard, and, partic-
ularly in his Bathers,
he showed incomparable
skill in expressing this
zest. He now rarely
found his subjects in
mythology; whilst Bou-
cher still showed Ven-
uses, Dianas or nymphs
bathing, these are only
FRAGONARD. —Ma chemise brule ('my shirt's on young girls frolicking
fire') (drawing). — Hachette. and laughing at their
games against a colour-
fuland luminous background. We can see all that Fragonard owes to
Rubens: the accentuated reds, transparent shadows, the keen quivering
of the flesh and the sensuality expressed with a gracious lightness.
Fragonard's influence asserted itself a century later in Renoir's Woman's
Torso in the Sunlight; there is the
same enchanting light and the
same pearly atmosphere, but the
Impressionist underlined still more
forcibly the fleshy character of the
figure and the reflections of the
sunlight shimmer brighter.
In his wash sketches, Fragonard
shows the same virtuosity and his
themes often touch on libertinage
as in Ma chemise brule ! He had
already launched this style, destin-
ed for such continued popularity,
with his canvas Les Hasards heu-
reux de VEscarpolette and he
executed numerous sketches in
,^_^ ^_^^^^^^_, the same vein.
RENOIR. —Woman's Torso the Sunlight

in
—Vizzavona.
(31 h, 25 b, C).
168
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t /
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FRAGONARD.— Bathers (25 h, 31 b, C).— Hachette.

ROBERT (Hubert). 1733-1808.—
After Herculaneum and Pompeii had
been excavated, the taste for Antiquity
developed in France in the second half
of the eighteenth century and, thanks
to Hubert Robert, the Roman monu-
ments in Provence v^êre once again
recognized at their full value. In 1787,
he painted four big pictures for the
drawing-room of Fontainebleau castle,
now to be seen in the Louvre: the most
famous is the Pont du Gard.
Hubert Robert sometimes took certain
liberties with the exact detail of the sites
depicted, but here he gave an absolutely
faithful reproduction, in which the in-
candescent glow of the setting sun
HUBERT ROBERT.— Landscape alone tends towards an effect ', with '
(drawing). —
Hachette. a both decorative and already slightly
preromantic aim.
We know that Hubert Robert stayed a long time in Italy, together
with his companions Frago-
nard and the Abbot of Saint-
Non.
His sketches, generally in
red chalk, depict palaces and
villasanimated by strollers
and washerwomen.
SAINT-AUBIN (Augustin
de). 736- 1 807.
1 —
Gabriel and
Augustin de Saint- Aubin liked
to represent society life at the
end of the eighteenth century
and their witty and rapid
sketches, such as The Ball
at Saint-Cloud, are precious
documents for a study of the
customs of the time.
AUGUSTIN DE SAINT-AUBIN.—
The Ball at Saint-Cloud. —
Archives
170
HUBERT ROBERT.—The Pont du Gard (95 h, 95 b, C).— Hachette.
HUBERT ROBERT.—
Fountain under a Portico y
COROT.— The Castel Sant'

Angelo (10 h, 18 b, C).
Giraudon.
Hubert Robert proved his merits as a great decorator; his pier-glasses

and frieze-panels show fictitious landscapes, inspired by souvenirs
of Italy and of very animated execution. Thus, for his painting Fountain
under a Portico, the artist drew his inspiration from the Italian villas and
their terraced gardens with fountains playing.He was appointed sketcher
of the King's gardens in 1778 and formulated plans for decorating 'a
I'antique' the Bosquet des Bains d'Apollon at Versailles.
VERNET (Claude-Joseph). 1714-1789.—Together with Hubert Ro-

bert, Joseph Vernet, too little known today, remains one of the greatest
landscape painters of this epoch. His views executed at Rome, and
notably his Ponte Rotto, show an exquisite sensitiveness to values, and
this artist, through his sense of atmosphere, light, effects and reflections,
was in Claude Gellee's great tradition and a direct forerunner of Corot
and the Impressionists; like Gellee, Corot painted rhythmic landscapes,
especially in the canvases of his first journey to Italy, the Castel
Sant' Angelo being a striking example; like Gellee, Claude Monet, whose
art is more purely visual, rendered, in Les Carrieres- Saint- Denis, for
example, the luminous intensity and imponderable reflections.
VERNET.—The Ponte Rotto in Rome ^ j
(16 h, 30 b, €).— Hachette.
MONET .
—Les Carrieres-Saint-Denis
(24 h, 31 b, C). —Giraudon.
172
«£• V^
!t
V #i
'^^,
m
^^^^•i^F?*JSi -.^
^1
if
the two Empresses; from being the
painter of Josephine, he became
Marie-Louise's drawing teacher,
designing the 'dressing chamber'
offered her by the town of Paris
and likewise conceiving sketches
for the king of Rome's cradle.
GREUZE (Jean-Baptiste).
1725- 1 805.— Greuze tried to react
against the libertinage at the end of
the eighteenth century and, at the
instigation of the Encyclopedists,
in particular Diderot and Rousseau,
wanted to create a virtuous and
moralizing art. But is it really
the young girl's innocence that he
symbolized in his Broken Pitcher?
PRUD' HON. —Portrait of Constance
Some people are not quite sure.
Mayer (drawing ) .
—Giraudon. What is sure, is that he has
. .
PRUD'HON (Pierre-Paul). expressed a form of sentiment-

1 758- 1 823. —With his Portrait of ality highly appreciated in those
the Empress Josephine in Malmai- days.
son Park, Prud'hon appears as
the heir to eighteenth century
tradition (evoking feminine grace
and sensitivity) and the forerun-
ner of Romanticism (harmoniz-
ing the model's spiritual feelings
with the surroundings). Correg-
gio's influence can be seen in the
Empress's dreamy attitude and the
delicate sensuality slightly coloured
with affectation. This influence
is even more evident in Prud'hon's
drawings, where the figures often

take up languorous poses. This
portrait of Constance Mayer, who,
as his pupil and companion from
1805 was a source
onwards,
of inspiration to him, is a good
example. Prud'hon was given GREUZE.— The Broken Pitcher (43 h,
official capacities at the Courts of 34 b, C). — Hachette.
174
.^y-
JUL^
PRUD'HON. —Portrait of the Empress Josephine in Malmaison Park (96 h, 70 b, C).
— Hachette.
DAVID.— The Oath of the Horatii (130 h, 168 b, C).— Hachette.
DAVID (Jacques-Louis). 1748-1825.-7/16 Oath of the Horatii,

constituting the manifesto of the neo-classical school, was sent by David
from Rome to the 1785 exhibition. The artist, reacting against the
eighteenth century's easy, frivolous art, advocated a return to the great '
method and to heroic subjects inspired by Ancient History. In Italy,

'
David had studied Greek and Roman sculpture and in his theories on
painting, he extolled immobility, generality of expression, nobility of atti-
tude, rhythmic composition and predominance of drawing over colour,
Pompeian red alone being admitted among the neutral tones. He
superposed his figures on the same ground as in the ancient bas-
reliefs and attached great importance to anatomical details; unfor-
tunately, despite this artist's exceptional talent, his classicism sometimes
becomes too academic in certain of his bigger compositions illus-
trating Ancient History, the pattern being a substitute for the authentic
impression.
David came back to the real, living study of Nature in his portraits and
the one of Madame Chalgrin (now thought rather to be of Madame Tru-
daine) is of acute psychological intensity. The beauty of the colour
harmony should receive particular attention.
176
DAVID.— Portrait of Madame Chalgrin (51 h, 39 b, C).— Hachette.
<ei*
DAVID. —The Coronation of Napoleon at Notre-Dame (240 h, 367 b, C). — Hachette.
Such a fervent revolutionary as David (he voted in favour of

Louis XVI's death) was chosen by Napoleon to be his painter. David
had asked the First Consul to accord him several sittings, wishing, as he
said, *to make it as life-like as possible'. 'What's the use!' replied
the latter. 'It's not the precision of the features which makes the
resemblance, it's the character of the face, the animation^ that should be
painted.' 'The one doesn't exclude the other', replied the painter.
'No one tries to find out whether the portraits of great men are good
likenesses, so long as their genius is brought to life in them', retorted
Bonaparte. 'You're teaching me how to paint', replied David. The story
goes that, on his return to the studio, he cried enthusiastically to his
pupils, 'Bonaparte is my hero!' and immediately began on this sketch,
a masterpiece of life and psychological intuition.
Amongst the bigger compositions that the Emperor required of his
painter. The Coronation at Notre-Dame, also known as Le Sacre, is one
of the most famous. Here again, the models' personalities are forcibly
underlined in this vast canvas. Amongst others, Talleyrand's cunning
look and ironic smile in the right foreground should be noted.
178
DAVID. —Portrait of Bonaparte (sketch; 32 h, 25 b, C). — Hachette.
G£RARD (Frangois). —
1770-1837. Gerard, Girodet and Gros were
the most important of Davidian neo-classical disciples. Gerard's Psyche's
First Kiss, shown in the 1798 exhibition, is a good illustration of the cold,
'china' technique of this
school. Moreover, this
work's lack of success
induced its author to direct
his activities toward por-
traits and he became the
official portrait-painter of
the Empire and the Restor-
ation.
GIRODET (Anne-
Louis). 1767-1824. —
Girodet was already evol-
ving towards pre-Roman-
ticism when he exhi-
bited his Atala Entombed,
inspired by Chateaubriand,
in 1808. Indeed, the
influence of contemporary
writers, the exotic subjects,
the taste for Nature are
all romantic characterist-
ics; but here the author
seems nearer to Bernardin
de Saint-Pierre's esthe-
ticsthan to the passionate
GERARD.—Psyche's First Kiss
movements of the author
(73 h, 52 b,
C). —Archives Photographiques de France. of Le Genie da Christia-
nisme.
GROS (Antoine-Jean, baron). —
1771-1835. Gros, who was given the
direction of the studio by David when this latter went into exile in Brussels
after the fall of the Empire, was neo-classical only in theory, for his
temperament inclined him towards Romanticism. Elie Faure judiciously
defined his art, It is the anxious passage from David's immobility to
'
Delacroix's tumultuousness. '

He accompanied Napoleon on several
of his campaigns and became the Empire's historiographer.
All the light of the Orient is already making an appearance in The Pest
Stricken of Jaffa, where the brutal realism of certain figures denotes
Rubens' influence.
180
GIRODET. — Atala
Entombed (83 h,
105 b, C). — Hachette.
GROS.—The Pest Strick-

en of Jaffa (209 h,
g£ricault
(Theodore).
1791-1824. —
Already in his
youth, Gericault
devoted himself
to the study
ofhorses; doubt-
less, thisurged
him to study
first of all under
Carle Vernet,
who made nu-
merous studies
GERICAULT.— The raft of the 'Meduse'.— CI. Hachette. of horsemen,
before entering
Guerin's studio. In 1816, he went to Italy from which period dates
the Horses Running Free in Rome, inspired by the Barberi races at
Corso. This drawing is a synthesis of the artist's classical and baroque
tendencies; its classicism is in the frieze arrangement inspired by ancient
the rhythmic balance of
bas-reliefs, the middle-distance architecture,
figures animals; but the scene's fiery dynamism the action
and —
—
being rendered by a 'passing' composition the violent light and
shade contrasts modelling the bodies and making the muscles
stand out in Michelangelo's sculptural style, are all baroque.
The admirable
sketch of A Man
Fighting a Bull is
minutely conceived
in the same vein.
Gericault's ro-
mantic unrest
sometimes makes
him seek the most
dramatic scenes, as,
for instance. The
raft of the 'Meduse'
(1819).
GERICAULT.— a n M
Fighting a Bull (draw-
ing). —Giraudon.
182
GERICAULT. — Horses Running Free m Rome (i8 h, 26 b, C).— Hachette
INGRES (Jean -Auguste- Domi-
nique). 1 780- 1 867.— The principal
tendencies of Ingres' esthetics are
resumed in The Bather, known as
*
Valpingon '
from the name of the
collector towhom it belongs. This
master, in love with lines and more
especially curves, had a leaning
towards rhythmical correspondences,
marking the female body's lithe-
'
ness and grace.

He endeavoured to render form by
the purity of the sketch, but imag-
ining the former as a more personal
ideal. He set out from a scrupulously
observed reality and systematically
transformed it, adding one or two
vertebrae to it to get the proportions
he considered most harmonious. The
undulating curve from the neck to
the right hand, which has an analogy
in the curve from the hip to the left
foot, is really admirable. The sinuo-
sity emphasizes the body's sensual
character, with no muscles showing.
'
I hate movement which shifts the
lines ', seems to be, for Ingres as
much as for Baudelaire, the definition
of Beauty.
^°' '^"^^ The immobility and purity of

?.w^^-~^^''f^',°^ ^y^f/
Misfortunes of Orleans' (drawing). — -^
Degas's
o , \/
(1834-1917) drawing are in
^ • •
Hachette.
direct relation with that of Ingres,
for whom he professed strong admiration. However, Degas, whose
technique was more nervous and constructive, seems in his Studies of
Nudes for The Misfortunes of Orleans, to be closer to the Greeks from
whom Ingres nevertheless claimed to take his inspiration. 'The Greek
vases tell us just as much without as much effort ', he would repeat,
*a mere line on a black ground is enough. But this line has to be
sought; it's the Virgilian branch that no one may pluck without having
been guided by Fate.'
184
INGRES.— Bather known as *Valpin9on' (57 h, 38 b, C).— Hachette.
Before leaving for
Rome in
1806, Ingres
painted the portraits of
Monsieur Madame and
y
Mademoiselle Riviere.
This latter is one of the
rare portraits where the

model is set before a
landscape background,
_ the artist's theories ge-
i^HP .
m nerally excluding all
j^H naturalistic decoration.
I^K
^^^ It would seem that he
attached importance to
INGRES.-The Forestier Family.-Giraudon.
physical resemblance
and the smallest de-
tails of and costume, more to fix the model socially than to
face
express profound individuality. Ingres was pre-eminently the
the
painter of the contemporary middle classes and his models all seem
to have a family likeness. Here once again, we see the elongation of
the neck into a 'swan's neck'; this deformation, dear to him, became
still more accentuated during
his career. It drew from Odilon
Redon the sally, 'It's Ingres

making monsters!'
The Portrait of Monsieur Berlin,
a great man of the time, and
founder of the Journal des Debats
('Debating Paper'), is treated
with a realism worthy of the
Flemish and has
^^^^^^^^^^^ 'ij^^^^^k M
^^^^^^^^^V^^^^^^^^B m
tion.
Sketching was a means for
Ingres to express himself more
freely, giving vent to his taste
for analysis; The Forestier
Family is one of the best examples
of this.
INGRES. —Portrait of Monsieur Bertin

(46h, 37b,C).
186
INGRES.— Portrait of Mademoiselle Riviere (39 h, 28 b, C).— Hachette.
DELACROIX.
— Women of
Algiers in their
Apartment
(7ih, 90 b, C).
— Hachette.
DELACROIX (Eugene). 1798-1863.-11 was in the 1841 exhibition

that Delacroix exhibited his Entry of the Crusaders into Constantinople.
At this date, the genial leader of the French Romantic school had grown
wiser and the tumultuous action flowing from his early works is here
replaced by calm. The subject is borrowed from the Middle Ages and
the Orient, two sources of romantic inspiration. The influence of
Veronese and particularly of the Marriage at Cana is noticeable in the
architecture and the sky's luminosity. In the background, Delacroix
painted, not Constantinople with which he was unfamiliar, but the town
and bay of Algiers which he visited in 1832.
After his travels in Morocco and Algeria, which were later to exercise
considerable influence on his style and esthetics, Delacroix executed the
Women of Algiers in their Apartment (1834 exhibition), considered by
Baudelaire as the artist's masterpiece. In fact, it is one of the finest
examples of French art. Light plays a great part in it and Delacroix
reproduced its reflections in a very refined colour range, juxtaposing
his strokes by what he called 'flossing', thus proving himself to be one
of the great forerunners of Impressionism. In Algeria, he made
numerous quick sketches with notes, often set off with water-colour, which,
in the liveliness of their colouring, announce the art of Matisse.
188
DELACROIX. — Entry of the Crusaders into Constantinople (i6i h, 196. b, C)-
Hachette.
Delacroix was a great friend
of the composer and pianist
Frederick Chopin, whose por-
trait we have here. Formerly,
it was larger, being a half-
length portrait of Chopin with

George Sand beside him.
The canvas was cut in two
and the portrait of George
Sand is now to be seen in
Copenhagen. Beneath the
sorrowful mask, Delacroix
expressed the anxiety so often
contained in romantic crea-
tion.
Impressed by the events
of July 1830, Delacroix DELACROIX.—Apollo Vanquishing Python
exhibited in 1831 a vast (ceiling of the Galerie d'Apollon). —Archives
composition in which he Photographiques de France.
combined allegory and his-
torical reality: Leading the People, Gavroche is seen flour-
Liberty
ishing two on the other side, the figure in the top-
pistols, and,
hat is recognizable as Frederic Villot, at the time curator
of the Louvre and friend of the painter.
Delacroix has been
called the last of the
great Renaissance mas-
ters and the first of
great modern painters;
he is one of the most
exceptional sketchers
and decorators of French
art.
His ceiling in the
Galerie d'Apollon at the
Louvre, evoking Apollo
Vanquishing Python,
is an impetuous and
yet classically balanced
work.
DELACROIX.— Liberty Leading the People (102 h,
190
DELACROIX. —Portrait of Chopin (i8 h, 15 b, C).— Vizzavona.
CHASSfeRIAU (Theo-
dore). 1819-1856. —
With Esther at Her
Toilet, Theodore Chas-
seriau made a synthesis
between the classical pu-
rity of his master, Ingres,
and the romantic sen-
suality of colour which
enchanted him in Dela-
croix's work. This
painter, of whom Theo-
phile Gautier could say,
'He's an Indian who
DELACROIX. —JewishC).—
Wedding
Hachette.
Morocco
in (41 h,
studied in Greece', was
56 b,
born at Saint-Domin-
gue. He studied, first of all, under Ingres; then went to Rome where his
taste for balanced compositions affirmed itself. But, on the other hand,
he was attracted by Delacroix's art and his Oriental subjects, and, like the
latter, journeyed to Algeria in 1846. On comparing his Esther at Her
Toilet and Ingres 's Odalisque (La Grande Odalisque) painted at Rome
in 1 814, the same arabesque grace in the body's undulation is to be found;
but comparison with Delacroix's Jewish Wedding in Morocco, for example,
shows how much Chasseriau owed to this latter for his colouring with red
and green dominating. Chasseriau managed to create a very original
type of woman: elongated forms, sensual beauty and a most Oriental
languor.
Like Delacroix, Chasseriau was tempted by large-scale decoration,
either religious in Paris
churches: Saint-Merry,
Saint-Roch, Saint-Phi-
lippe-du-Roule; or else
allegorical like his vast
piece conceived for the
Accounts Court stair-
way, partly destroyed
by the fire of the Com-
mune and the vestiges
of which are now to be
seen at the Louvre.
INGRES.— Odalisque (La Grande Odalisque) (36 h,

192
I
4
CHASSERIAU.— Esther at Her Toilet (i8 h, 14 b, C).— Hachette.

C O R O T.— Underwood at Civita-
Castellana (drawing ) .- -Hachette.
COROT (Jean-Baptiste-
Camille). 1796-1875. Corot —
made this sketch of the Bridge
of Narni between 1825 and 1828
during his first journey to Italy.
It is one of the masterpieces
that he brought back from this
stay. In this small-sized can-
vas, the artist succeeded in %&<;f5
^^
,L 'i^
.
*-
making the immensity of the
landscape felt by using infinite-
simal values, thus rendering
what Cezanne later called 'the veil ' of air surrounding everything',
But, like this latter, Corot had no desire to 'neglect the form to the profit
of the envelope' and his composition is constructed by balancing the
masses. Moreover, he advised, 'Seek first of all the form in Nature,
then the tone values or relations, the colour and the execution and submit
the lot to the feelings you have had.
'
During this first Italy, he likewise made numerous sketches,

journey to
and this view of the Underwood of Civitd Castellana proves how keenly
he observed Nature.
From 1850 onwards, Corot's art tended towards dreaminess and melan-
choly. He liked to paint at daybreak, before sun-rise, and these landscapes
bathed in morning mist have a mysterious poetry, as for instance this
Souvenir of Mortefontaine. The shaded grey tonalities, relieved by a red
or rosy speck putting them into relief, and the vibrations of the reflections
on the leaves all combine in
re-creating a universe both real •?t
and fairylike. In Corot's work,

the delicacy of atmosphere
of Claude Gellee (as in the
View of the Tiber in a bistre
wash) is found and announces
the Impressionists* evanescent
CLAUDE GELLEE.—View of the

Tiber (drawing).— CI. Arch. Pho-
tographiques.
194
COROT. —The Bridge of Narni (14 h, 18 b, C). — Hachette.
COROT. —Souvenir of Mortefontaine (26 h, 35 b, C).— Hachette.
art. Moreover, he later decla-
red that beauty in art is truth
*
bathed in the impression that we

have received at the aspect of
'
Nature.
1 87 1, Corot went to the North
In
of France and brought back with
him another masterpiece, Douai
Belfry, Like Balzac, he managed
to call up the apparently peaceful
atmosphere peculiar to provincial
life in those days. The pots of
geraniums to the left of the window
sill, throwing their red stains into
the greys, beiges and delicate bluish

tones, are worthy of notice; such
a work conforms to the tradition
of French painting, but also prefi-
gures certain of Sisley's works.
COROT.— Inside the Artist's Studio (22 h In 1834, he had been to Tuscany
18 b, C). — Archives Photographiques. and the View of Florence shows
an evolution towards a more
balanced, more rhythmic art, like Poussin's, where the lighting effects
give way to atmosphere.

Corot is not exclusively a landscape painter; he has also treat-
ed figures;
one of the
finest exam-
ples is his
Inside the
Artist's Stu-
dio, where
the model
has a dreamy
poetic look.
COROT.- View
of Florence
(20 h, 29 b, C).
— Giraudon.
196
n n
ill
COROT.— Douai Belfry (i8 h, 15 b, C).— Hachette.
MILLET. —Landscape (drawing) .
— Hachette.
DAUMIER (Honore). 1808- 1879. —Before the 1848 revolution,
which gave a fresh drive to art, Daumier had already manifested his
talent by lithographs and satirical sketches, in which he exercised his
verve against the bourgeois and put his realism at the service of a socializ-
ing ideal. This sketch of The Republic is his first painting, executed for a
State competition in 1849. The violent light and shade contrasts, the
powerful muscles of the allegorical figure and the two children, all
denote the sculptural character of his work which made Baudelaire say,
That fellow's got some Michelangelo in him.' Both his paintings and
sketches eliminate details, being confined to essential grounds and those
characteristic features best defining human expression.
MILLET (Jean-Frangois). 1814-1875. —Whilst Daumier's interests

lay rather with political and social events. Millet was more attracted by
Nature and rural scenes. He deified the peasant in an entirely democratic
aim that Baudelaire and Delacroix reproached him with. But, in any
case, this objection is of no value in the case of his admirable sketches,
of which November is one of the most evocative; of country origin,
the artist managed to recapture the grandeur and truth of Nature
without ever forgetting that it is submitted to Man.
To finish with, let it be said that his original technique makes him
a forerunner of Pissarro, Seurat, and especially Van Gogh.
198
DAUMIER.— The Republic (29 h, 24 b).— Hachette.
COURBET (Gustave). 1 819- 1877. —Courbet was perhaps the painter
most influenced by the spirit of 1848. After his friend, the sociaUst
writer Proudhon, had advised him to put his art at the service of the new
theories this latter was extoUing, Courbet undertook a vast composition
in 1855, ^^ which he said he wanted to represent 'the moral and physical
history of his studio'. He remarked in a letter to the critic Champfleury,
COURBET.— The Studio (141 h, 235 b, C).— Giraudon.
'These are people who serve me, support me in my idea and participate
in my action. They are people who live on life, who live on death. It
is society in its depths and in between; in a word, it is my
heights, in its
way of seeing society in its interestsand passions. It's the world that
comes to be painted in my studio. And he continued, *I am in the
'
middle, painting; on my right are the shareholders, namely the friends,

workers and patrons of the world of art. On the left is the other world
of ordinary life, the people, misery, poverty, richness, the exploited, those
who exploit them, people who live on death.'
In the right-hand group, seated and reading, Baudelaire and at the
back, behind the seated Champfleury, Proudhon and Alfred Bruyas can
be recognized; this latter is the famous amateur whom Courbet was to
re-introduce in his canvas Bonjour, Monsieur Courbet.
What redeems the work, despite all this philosophical-political-literary
rubbish, is its admirable style, the tone relations, the beauty of the nude,
the realism of the portraits and the quality of the materials and the light.
200
COURBET.—The Studio (detail).— Hachette.
As a native of
Ornans, in Franche-
Comte, Courbet ma-
naged to call up this
region of the Juras
with a profound sen-
sitivity, and in his
landscapes, of which
The Cover of the
Roebucks is one of
the most admirable,
he proves both his
link with the realist
movement and his
foreshadowing of
Impressionism. He COURBET.—The Cliffs at Etretat
(51 h, 64 b, C).-
liked a solitary Na- Hachette.
ture; wild sites and
thick undergrowth sometimes peopled with animals were his delight.
Moreover, his liking for animals made him represent them fine and tho-
roughbred, like those that Pisanello or Diirer might have drawn. Through
his pre-impressionist vision, he seized the play of light and vibration of
reflections; his technique was free and bold; he sometimes put his paint
on with a palette knife, thus showing his taste for 'fine impasto'.
When he painted sea-pieces like The Cliffs at Etretat, he came very
near Claude Monet, and, suggested the mobility of the clouds, the shim-
mer of the sun on the water and the flecks of light. However, he was
more constructive and liked to show in detail the structure of natural
elements, fixing the soil's geological foundations, whilst Monet preferred
the fleeting aspects of the same site at different moments of the day.
MONET.— High
Sea at Etretat
(26 h, 60 b, C).—
Archives Photo-
graphiques.
202
COURBET.— The Cover of the Roebucks (68 h, 8i b, C).— Hachette.
I
INDEX
Aken (Van), see Bosch. Caliari (Paolo), see Veronese.

Allegri (Antonio), see Correge. Canaletto (Antonio Canale, called), 13,
Altdorfer (Albrecht), 109. 50.
Angelico (Fra), 8, 9, 16, 17. Caravaggio (il), II, 12, 13, 48, 49, 54,
Antonello da Messina, 9, 20. 58, 89, 122, 134.
AvED (Jacques-Andre-Joseph), 124. Caron (Antoine), 121.
Avercamp, 91. Carpaccio (Vittore), 9, 24.
Carracci (Annibal), 46, 47.
Carracci (the), 12, 46.
Baldovinetti (Alesio), 18.
Barrier: (Jacopo), see Guerchino.
Castagno (Andrea del), 9.
Barocci (Federigo), 12.
Cezanne (Paul), 56, 136, 164, 194.
Bassano (il),
Champaigne (Philippe de), 122, 123,
12, 40.
140, 141.
Baugin, 136, 137.
Beerstraten, 91.
Chardin (Jean-Baptiste-Simeon), 124,
136, 162, 163, 164, 165.
Bega (Cornelis), 90.
Bellini (Gentile), 9.
Charonton (Enguerrand), 120.
Chasseriau (Theodore), 126, 192, 193,
Bellini (Giovanni), 9, 26, 27, 36, 109.
CiMARUE, 8, 14.
Bellini (Jacopo), 9.
Berchem (Claes-Pietersz), 91, Clouet (Fran9ois), 121, 132, 133.
Berckheyde (Geerrit-Adriaensz), Clouet (Jean), 121, 132.
91.
Blake (William), 115. Conrad de Soest, 108.
BoL (Ferdinand), 89. Constable (John), 115, 118, 126.
Bonington (Richard Parkes), 115,
Coques (Gonzales), 71.
118, 119. Corneille de Lyon, 121, 132.
Bosch (Jerome Van Aeken, Corot (Jean-Baptiste-Camille), 13, 30,
called), 89,
123, 126, 127, 130, 172, 194, 195, 196,
92, 93.
197.
Both (Johannes), 91.
Corregio (Antonio Allegri, called il),
Botticelli (Sandro), 9, 22, 23.
10, 34, 35, 174-
Boucher (Fran9ois), 124, 160, 161, COTMAN, 115.
162, 168.
CouRBET (Gustave), 127, 138, 200,
Bouts (Dierich), 74. 201, 202, 203.
Bril (Paul), 70, 80. Cousin (Jean), called the Father, 121.
Bronzing, 12, 44, 45. Cousin (Jean), called the Son, 121.
Brouwer (Adrian), 71. CoYPEL (Antoine), 123.
Brueghel (Jan), called this Velvet, 71. CoYPEL (Charles), 124.
Brueghel (Pieter), called the Elder, 69, Cranach (Lucas), called the Elder,
70, 80, 81.
109, no.
Burne-Jones, 115. Crayer (Gaspardde), 71.
205
Crivelli (Carlo), 8, 9. Girodet de Roucy Trioson (Anne-
CuoMK (John), 115. Louis), 125, 180, 181.
CuYP (Albert), 91. GiRTiN, 115.
Goes (Hugo van der), 18, 69.
Daubigny (Charles-Francois), 127. Gossaert (Jan), called Mabuse, 69.
Daumier (Honore), 127, 198, 199. Goya, 13, 55, 66, 67.
David (Gerard), 69, 78, Goyen (Jan van), 91, 102, 103.
David (Jacques-Louis), 125, 126, 176, GozzoLi (Benozzo), 9.
177, 178, 179, 180. Greco (el), 12, 42, 54, 56, 57.
Decamps (Alexandre-Gabriel), 126. Greuze (Jean-Baptiste), 124, 174.
Decourt (Jean), 121. Gros (Antoine-Jean), 118, 125, 180,
Degas (Edgar), 184. 181.
Delacroix (Eugene), 11, 82, 84, 118, Grunewald (Mathias), 109.
125, 126, 180, 188, 189, 190, 191, GuARDi (Francesco), 13, 50, 51.
192, 198. Guercino, 12, 46.
Diaz (Narcisse), 127. GuERiN (Pierre-Narcisse), 125, 126,
Domenichino, 13, 22, 46. 182.
Dow (Gerard), 90, 96, 97. GuiDO, 12, 46.
Duccio, 8, 91.
Dujardin (Karel), 91. Hals (Dirk), 90.
DUMONSTIERS (les), 121. Hals (Frans), 71, 88, 89, 94, 95, 167.
DuPLESsis (Joseph-Siffred), 124. Heem (Jan-Davidsz de), 90, 136.
DupRE (Jules), 127. Helst (van der), 88, 89.
DuRER (Albrecht), 109, no, in, 202. Herrera (Francisco), called el Viejo,
DusART, 90. 54, 58, 60.
Dyck (Anthony van), 62, 71, 86, 87, Heyden (Jan van der), 91, 102.
114. HoBBEMA (Meindert), 91, 100, 27.
Hogarth (William), 114.
Elsheimer (Adam), 80, 109. Holbein (Hans), called the Elder, 109.
EvERDiNGEN (Allart van), 91. Holbein (Hans), called the Younger,
Eyck (Jan and Hubert van), 20, 68, 69, 109, 112, 113, 114.
72, 73, 74, 128. HoNTHORST 89.
Hooch (Pieter de), 90, 98.
Faes (van der), called Sir Peter Lely,
HoppNER (John), 114, 116.
114. Hunt (W. H.), 115.
FouQUET (Jean), 120, 121, 130, 131. HuYSUM (Jan van), 90.
Fragonard (Honore), 84, 89, 124, 166,
167, 168, 169, 170. Ingres (Jean - Auguste - Dominique),
Francesca (Piero della), 9. 126, 184, 185, 186, 187, 192.
Froment (Nicolas), 120.
Fyt (Jan), 70, 71. Jongkind (Barthold), 102.
Jordaens (Jacob), 70, 71, 86.
Gainsborough (Thomas), 114. JOUVENET, 123.
Gellee (Claude), called the Lorrain,
91, 115, 123, 126, 130, 148, 149, 172, Koninck (Philip), 91.
194.
Gerard (Francois), 125, 180. La Fosse (Charles de), 123.
Gericault (Theodore), 125, 182, 183. Lagneau (Pierre), 121.
Ghirlandajo (Domenico), 9, 18, 22, Lancret (Nicolas), 124, 156.
121. Largilliere (Nicolas de), 123, 152, 153.
Giorgione, 10, 36, 37. La Tour (Georges de), 48, 122, 134, 135.
Giotto di Bondone, 8, 9, 14, 68. La Tour (Maurice Quentin de), 48,
GiRARD of Orleans, 120. 124, 158, 159.
206
Lawrence (Sir Thomas), 114, 116. Nanteuil (Robert), 152.
Le Brun (Charles), 123, 150, 151. Neer (Aert van der), 91.
Lemoyne, 124. Netscher (Gaspard van), 90.
Le Nain (Antoine), 122.
Le Naix (Louis), 122, 138, 139. Orley (Bernard van), i69.
Le Nain (Mathieu), 122. Ostade (Adrian van), 89.
Leonardo da Vinci, 10, 28, 29, 30, 34, OuDRY' (Jean-Baptiste), 124.
69, 109, no, 154.
Le Sueur (Eustache), 122, 142, 143. Pacher (Michael), 109.
Leyden (Lucas van), 89, 92. Palamedes (Anthonie), 90.
Leyster (Judith), gro. Pater (Jean-Baptiste), 124.
Lippis (the), 9. Perroneau (Jean-Baptiste), 124, 158.
LocHNER (Stephan), 108. Perugino (il), ID, 32.
LoNGHi (Pietro), 13, 52. PiSANELLO, 20, 21.
LoRRAiN (Claude), see Gellee. Pley^denwurf (Hans), 109.
Potter (Paul), 90, 91.
Maes (Nicolas), 90. PoussiN (Nicolas), 122, 123, 144, 145,
Magnasco (Alessandro), 13, 50. 146, 147, 196.
Manet (Edouard), 36, 66, 89, 94. Primatice (Francesco Primaticcio,
Mantegna (Andrea), 24, 25, 26, called the), 121.
9,
109, no. Prud'hon (Pierre-Paul), 34, 125, 174,
Martini (Simone), 8, 14. 175.
Masaccio, 9.
Master Bertram, 108. Quesnel (the), 121.
Master of the Madonna with Raeburn (Henry), 114.

Peaflower, 108. Raphael, 10, 32, 33, 38, 44, 46, 69,
Master of the Holy Parentage, 108.
115, 122, 126, 142, 144.
Master of the Saint Veronica, 108. Rembrandt (Van Ryn, called), 88, 89,
Master of Moulins, 121.
91, 94, 104, 105, 106, 107.
Master Francke, 108. Reni (Guido), see Guido.
Memling (Hans), 68, 69, 76, 77, 78, Renoir (Auguste), 56, 64, 168.
121. Rey'nolds (Joshua), 114, 116, 117.
Merisi (Michael Angelo ) , see Caravaggio. RiBERA (Jusepe de), 48, 54, 58, 59, 92.
Metsu (Gabriel), 89, 90, 96. Rigaud (Hyacinthe), 123, 152.
Metsys (Quentin), 69, 78, 79. Robert (Hubert), 125, 170, 171, 172.
Michelangelo, 10, 46, 182, 198. Robusti (Jacopo), see Tintoretto.
Michel (Georges), 127. RoELAS (Juan de las), 54.
MiERis (Frans van), called the Elder, 90. RossETTi (Dante-Gabriel), 115.
MiGNARD (Pierre), called the Roman, Rosso (Giambattista di Jacopo called
123, 150. the), 121.
MiLLAIS (J.-E.), 115. Rousseau (Theodore), 100, 127.
Millet (Jean-Fran9ois), 80, 127, 138, Rubens (Pierre-Paul), 55, 62, 69,
11,
198. 70, 71, 82, 83, 84, 85, 86, 126, 168,
Monet (Claude), 115, 148, 172, 202. 180.
Mor (Anthonis), or Antonio Moro, 89, RuYSDAEL (Jacob van), 100, loi, 127.
92, 114. Ruysdael (Salomon van), 91.
Morales (Luis de), 54.
MoREAu (Louis-Gabriel), called the Saenredam, 91.
Elder, 125. Saint-Aubin (Augustin de), 170.
Multscher (Hans), 108. Saint- AuBix (Gabriel de), 170.
MuRiLLo (Bartolome Esteban), 55, Santi (Raffaello), called Raphael
58, 62, 63. Sanzio ; see Raphael.
207
ScHONGAUER (Martin), io8, 109. Valdes Leal (Juan de), 55.
Schoolof Avignon (xvth century), 120, Valentin (J. de Boulongne, called the),
129. 122.
School of Catalogna (xvth century), 54. Vannuci, see Perugino.
School of Fontainebleau (xvith century), Veccellio (Tiziano), see Titian.
121. Velasquez (Diego Rodrigues de Silva y),
School of Paris (xivth century), 120, 55, 58, 64, 65, 66, 92.
128. Velde (the van de), 90, 91.
Seghers (Hercules), 91. Vermeer (Johannes), called van Delft,
SiBERECHTS (Jan), 71. 88, 90, 98, 99.
Snyders (Frans),i7i. Vernet (Claude-Joseph), 125, 126,
SoLARio (Andrea), 10. 172, 182.
Steen (Jan), 89, 96. Veronese (Paolo), 11, 40, 41, 52, 78,
188.
Teniers (David), called the Younger, ViEN (Joseph-Marie), 125.
71. Vinci, see Leonardo.
Terborch (Gerard), 90, 98. VivARiNi (the), 9.
Ter Brugghen, 89. Vos (Cornells and Paul de), 71.
Theotocopoulos (see Greco). VouET (Simon), 122, 123.
Thulden (Theodor van),i7i.
TiEPOLO (Giambattista), 13, 52. Watteau (Antoine),
11, 82, 84, 114,
TiEPOLO (Domenico), 13, 52, 53. 157, 160, 162.
123, 124, 154, 156,
Tintoretto (Jacopo Robusti, called Werff (Adrian van der), 90.
the), II, 40, 42, 43, 54, 56. Weyden (Roger van der), 20, 68, 69,
Titian, id, ii, 36, 38, 39, 40, 44, 54, 74, 108.
56, 144. WiTz (Conrad), 108.
TocQUE (Louis), 124. Wolgemut (Michael), 109.
Troy (Frangois de), 124. Wouwerman (Philips), 91.
Troyon (Constant), 91.
TuRA (Cosimo), 9, 26. Zampieri (Domenico), see Domeni-
Turner (William), 115. chino
ZuRBARAN (Francisco de), 55, 60,
UccELLO (Paolo), 9, 18, 19. 61.
LIBRAIKIE HACHETTE Imprimerie CRfiTfi

Printed
PARIS N" 3708 Paiis, Corbeil-Essonnes.
D6p6t 16gal : 3^ trim. 1965.
in France.
N" 8485. — III-10-1965.
I
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The Masterpieces of Painting in The Louvre (Art Ebook)

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MAURICE SERULLAZ

Maurice Serullaz, himself a painter, is keeper of the

The ten books already published, which constitute his

Having begun his literary career at an early age, Maurice

In his Evolution de la peinture espagnole, published in

ible laws imposed on their nature by their heredity and

In the present work, Serullaz treats a much wider

Without any formal dedication, this work is a tribute

By juxtaposing canvases of different schools and periods

His work will be given the worthy place it deserves among

Diredeur des Musees de France

RIGHT UP until the thirteenth century,

who succeeded in de-

CARLO CRIVELLI (1430 ?-i495 ?).— Saint James of

stillimpregnated with the spirit of the Middle Ages.

continue right up until today.

TITIAN. —Jupiter and Antiope (77 h, 152 b, C). — Giraudon.

Realism and luminism also made their appearance before Caravaggio

Alof of Wignacourt (77 h, 53 b, C). P^^^^^ ^^^^^ ^^ "^

— Giraudon. worth mentioning in Italy,

<t v©b «'.

MARTINI (Simone). 1284-1344. —Simone

FRA ANGELICO. 1387- 1455. —

_.^^^^^^^^av 4^B jAt^^ '^^^^^li^^^^^^" J

colours. They are in the Vallardi Collection acquired by the Louvre in

ANTONELLO DA MESSINA.— Portrait of

brought Savonarola to bear down

hill recalls surrealist canvases.

CARPACCIO (Vittore). Mentioned from 1486-1525.— In Venice,

CARPACCIO. -Saint Stephen Preaching at Jerusalem Archives

BELLINI (Giovanni). 1430 (?)-i5i6. — Christ Blessing after the

This Pietd is the lunette '

much more than light and shade and, in

reality, means the way he shaded off his colours

terfalls and rocks, which a long way from

LEONARDO DA VINCI.— reality, although it is a scientifical composition.

these rather contradictory state-

the master of Raphael. Italian

PRUD'HON.—Psyche Carried Off by

one of the direct forerunners of Impressionism, Manet, a great realist,

isone of the first paintings of Titian in which there is a feehng of dramatic

The Portrait of a Young Woman at Her Toilet, painted in 15 15, is

TITIAN.— Portrait of a Young Woman at Her ioi:^

him to achieve the ideal of balanced

TITIAN.— Portrait of Francois greatest sincerity, and his work is

(43 h, 35 b, C).— Hachette. admirably frank and true to life.

cial lighting effects (see

LA TOUR.— Adoration of the Shepherds

TIEPOLO.— The Last Supper (31 h, 35 The Last Supper of

LONGHI.— The Presentation (25 h,

SPANISH ART is a real antithesis; its predominating elements are realism

other was a school of portrait painters of minute realism, somewhat approach-

In Andalusia, Sevilleheldan impor-

compositions using ordinary people and

and especially his Immaculate Con-

more than any other Spaniard, loved

other characteristic example. Either

HERRERA EL VIEJO. 1576-

of Velasquez. His Saint Basil Dic-

guing Pandemonium, the figures are

MURILLO. —The Young Beggar (54 h,

ZURBARAN. 1598- 1662. — Zurbaran was the great painter of

grey, with pink and pearly trans-