The Art of the Belgian Galleries: Being a History of the Flemish School of Painting Illuminated and Demonstrated by Critical Descriptions of the Great Paintings in Bruges, Antwerp, Ghent, Brussels and Other Belgian CitiesL.C. Page, 1909 - 369 Seiten |
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Adoration altar angels animals Antwerp artist background beautiful Beaux-Arts Brussels Bernard Van Orley blue Brueghel Bruges Brussels central panel centre charming Child Christ church colour composition Cornelis de Vos costume Craeyer Cross crown David depicts drapery dressed Dyck face famous Fifteenth Century figures Floris flowers foreground Frans fruit gallery Gerard Gerard David Gerard Seghers Ghent gold gray green hair head holds Holy horse Italian Italy Jan Fyt Jan Mostaert Jerome Bosch Jesus Jordaens Joseph kneeling Lambert Lombard landscape left hand light Massys master Memling Michael middle distance Musée Royal Museum Orley painted painter Palais des Beaux-Arts Paul Mantz peasants picture Pieter Pieter Pourbus Plate portrait pupil Quentin Massys red mantle represented right hand robe Royal des Beaux-Arts Rubens Rubens's saint scape scene seated seen shows stands style subjects Teniers trees triptych Virgin wears Weyden wings woman yellow
Beliebte Passagen
Seite 184 - I mean only to compare Rubens with himself; they might be thought excellent even in this respect, were they the work of almost any other painter. The flesh, as well as the rest of the picture, seems to want grey tints, which is not a general defect of Rubens ; on the contrary, his mezzotints are often too grey.
Seite 60 - ... and children : his old men have that sort of dignity which a bushy beard will confer ; but he never possessed a poetical conception of character. In his representations of the highest characters in the christian or the fabulous world, instead of something above humanity, which might fill the idea which is conceived of such beings, the spectator finds little more than mere mortals, such as he meets with every day.
Seite 59 - Rubens was, perhaps, the greatest master in the mechanical part of the art, the best workman with his tools, that ever exercised a pencil.
Seite 61 - The effect of his pictures may be not improperly compared to clusters of flowers ; all his colours appear as clear and as beautiful : at the same time he has avoided that tawdry effect which one would...
Seite 176 - The Christ is a better Character, has more beauty and grace, than is usual with Rubens; the outline remarkably undulating, smooth, and flowing. The head of one of the women in purgatory is beautiful, in Rubens's way: the whole has great harmony of colouring and freedom of pencil ; it is in his best manner.
Seite 175 - Rubens's best manner. Such subjects seem to be more peculiarly adapted to the manner and style of Rubens : his excellence, his superiority, is not seen in small compositions. One of the kings, who holds a cap in his hand, is loaded with drapery : his head appears too large, and upon the whole he makes but an ungraceful figure. The head of the ox is remarkably well painted.
Seite 58 - They really increase in proportion to the size of the canvass on which they are to be displayed. His superiority is not seen in easel pictures, nor even in detached parts of his greater works ; which are seldom eminently beautiful. It does not lie in an attitude, or in any peculiar expression, but in the general effect...
Seite 183 - ... contrast to the character of resignation in the crucified Saviour. The sway of the body of~ Christ is extremely well imagined. The taste of the form in the Christ, as well as in the other figures, must be acknowledged to be a little inclinable to the heavy ; but it has a noble, free, and flowing outline. The invention of throwing the Cross obliquely from one corner of the picture to the other, is finely conceived; something in the manner of Tintoret...
Seite 58 - The works of Rubens have that peculiar property always attendant on genius, to attract attention, and enforce admiration in spite of all their faults. It is owing to this fascinating power that the performances of those painters with which he is surrounded, though they have perhaps fewer defects, yet appear spiritless, tame, and insipid ; such as the altar-pieces of Grayer, Schut, Seghers, Huysum, Tyssens, Van Balen, and the rest.
Seite 178 - This picture is eminently well coloured, especially the angels ; the union of their colour with the sky is wonderfully managed. It is remarkable that one of the angels has Psyche's wings, which are like those of a butterfly. This picture is improperly called St. Anne teaching the Virgin to read ; who is represented about fourteen or fifteen years of age, too old to begin to learn to read. The white silk drapery of the Virgin is well painted, but not historical ; the silk is too particularly distinguished,...