54 PUNCH, OR THE LONDON CHARIVARI. [IWak* 9, 18'8.
THE OLL) MASTERS AT THE ACADEMY.
Guide, by a Young Master who knows very little about it, intended
for those who know less. Resumed from where it left off last.
No. 83. Portrait of Emma Harte, Lady Hamilton. By George
Romney. " Who," says the Catalogue, " became well known from
her friendship with_____No. 133. The sub-
Lent by the Queen from Buckingham Palace. It is described as
"The idiot clown, Cymon, suddenly inspired into love at the sight
of Iphigenia," &c. It should have been "Simple Cfmon in view
of the Fair." But what a wicked little Cupid that is admitting
the original Peeping Tom to a glimpse of Yenus, a la Godiva*,
reposing after her ride. The Queen has some nice pictures. Did
the Loud Chamberlain choose any of them ?
Lord Nelson.
" Friendship " is
perhaps a mild term,
but being a " ship "
of some sort, intelli-
gible in the case of
Admiral Lord Nel-
son. In the dis-
tance is represen-
ted the sea: Lady
Hamilton is in
meditative mood :
she appears to be
saying to herself,
" In my mind's eye,
Horatio." This is
a more pleasing
picture than the
same pretty subject
treated in
No. 92. Also Por-
trait (f Emma
Harte, Lady Ha-
milton. By George
Romnet—where the
Artist seems to con-
vey that Lady Ha-
milton painted as
well as he did, to
judge by the colour
of her lips and
cheeks. " Ohe
Emma ! " Poor Lord
Nelson ! you had
indeed an eye, liter-
ally an eye, for the
beautiful: and, with
all your duty, hon-
ourably and gal-
lantly done to your
country, we know
where your Harte
was.
No. 102. Portrait
of A Man. By
Rembrandt. Now,
was the sitter for
this a professional
model, or was it some
one who thought
that his name would
be handed down to
posterity by Rem-
brandt van Rhyn ?
If the latter, who is
he ? . . . A wonder-
ful picture! Ap-
proach quite close ;
its touch is as broad
as scene-painting :
retire to the seat in
the centre of the
room, and from that
distance it appears
a highly - finished
portrait.
No. 108. Dorothea,
Lady Lethbridge.
By Gainsborough,
FOG FRIDAY, 18TH JAN.
Ethel. "What shall we do, Dear? It's quite too Dark to see Colours at
Madame AldegondeV."
Mabel (bright idea). "Suppose we do the Old Mastees ? "
ject of this picture,
by Tintoretto,
could never be
guessed without a
Catalogue. It ap-
pears to be some-
body, in classic
times, telling a good
story by moonlight.
It isn't ; but for
particulars refer to
description in Cata-
logue.
No. 142. Lady
kneeling at an Al-
tar. Paolo Vero-
nese. Characteristic
subject for Paol-
over-on-knees to
paint. But why the
dog in the corner ?
No. 149. Portrait
of A Youth. By
Angelo Bronzino.
An effeminate but
strictly proper
young man, who ap-
pears to be saying,
"Dear me! I really
must turn my back
on that extraordi-
narily indelicate per-
son on the balcony.
Where are the po-
lice ? " Fancy any
modern portrait-
painter enlivening
his subject in this
eccentric manner.
Bronzino could do
itin Italy, but
where is Brass 'eno
to do it here ?
No. 150. Portrait
of Mrs. Villebois.
By Thos. Gains-
borough, R.A. One
of Baron Abome-
lique's wives, from
the Blue Chamber.
But what satin!
Magnificent! And
to think that this is
but a canvas-backed
duck after all!
No. 154. Portrait
of A Man. By Fer-
dinand Bol. "A
man" indeed! A
maudlin sottish
idiot, that ought to
be purchased by a
Temperance Society,
and exhibited as
a portrait of a
"Frightful Exam-
ple." Bol did not
choose a pleasant
subject. [If, for the
R.A. She seems to nonce, he had signed
have just remarked to somebody, "Don't annoy me, any of you, \ himself " Bowl," it would have been more appropriate,
for I can say something cruelly cutting when I choose." ^0. 158_ Portraits of the Marchesa de BrignoU and Child. By
TW™ ir, £°\%aV'f aF(emish. G^tleman. By Peter Paul ; gir Anthony Vandxck. The title of this work should be " Hydro-
riUBENS. in his lite-time this man, in spite of his high civic station, , , . „ p., A__• „ fif mho \r,,roVif>aq is too fris-htened
had a great deal of the " ruff " about him! What a fortune his ; Phobia" Observe the dog in a fit. The Marohee»»™^*™*
washerwoman must have made out of him! She could never have to mo^e from her seat, and grasps the child s hand, at tne same
been badly off for soap, or starch. time murmuring something about It won t hurt you, dear ; don t
No. 132. Cymon andLphigenia. By Sir Joshua Reynolds, P.R.A. be afraid."
THE OLL) MASTERS AT THE ACADEMY.
Guide, by a Young Master who knows very little about it, intended
for those who know less. Resumed from where it left off last.
No. 83. Portrait of Emma Harte, Lady Hamilton. By George
Romney. " Who," says the Catalogue, " became well known from
her friendship with_____No. 133. The sub-
Lent by the Queen from Buckingham Palace. It is described as
"The idiot clown, Cymon, suddenly inspired into love at the sight
of Iphigenia," &c. It should have been "Simple Cfmon in view
of the Fair." But what a wicked little Cupid that is admitting
the original Peeping Tom to a glimpse of Yenus, a la Godiva*,
reposing after her ride. The Queen has some nice pictures. Did
the Loud Chamberlain choose any of them ?
Lord Nelson.
" Friendship " is
perhaps a mild term,
but being a " ship "
of some sort, intelli-
gible in the case of
Admiral Lord Nel-
son. In the dis-
tance is represen-
ted the sea: Lady
Hamilton is in
meditative mood :
she appears to be
saying to herself,
" In my mind's eye,
Horatio." This is
a more pleasing
picture than the
same pretty subject
treated in
No. 92. Also Por-
trait (f Emma
Harte, Lady Ha-
milton. By George
Romnet—where the
Artist seems to con-
vey that Lady Ha-
milton painted as
well as he did, to
judge by the colour
of her lips and
cheeks. " Ohe
Emma ! " Poor Lord
Nelson ! you had
indeed an eye, liter-
ally an eye, for the
beautiful: and, with
all your duty, hon-
ourably and gal-
lantly done to your
country, we know
where your Harte
was.
No. 102. Portrait
of A Man. By
Rembrandt. Now,
was the sitter for
this a professional
model, or was it some
one who thought
that his name would
be handed down to
posterity by Rem-
brandt van Rhyn ?
If the latter, who is
he ? . . . A wonder-
ful picture! Ap-
proach quite close ;
its touch is as broad
as scene-painting :
retire to the seat in
the centre of the
room, and from that
distance it appears
a highly - finished
portrait.
No. 108. Dorothea,
Lady Lethbridge.
By Gainsborough,
FOG FRIDAY, 18TH JAN.
Ethel. "What shall we do, Dear? It's quite too Dark to see Colours at
Madame AldegondeV."
Mabel (bright idea). "Suppose we do the Old Mastees ? "
ject of this picture,
by Tintoretto,
could never be
guessed without a
Catalogue. It ap-
pears to be some-
body, in classic
times, telling a good
story by moonlight.
It isn't ; but for
particulars refer to
description in Cata-
logue.
No. 142. Lady
kneeling at an Al-
tar. Paolo Vero-
nese. Characteristic
subject for Paol-
over-on-knees to
paint. But why the
dog in the corner ?
No. 149. Portrait
of A Youth. By
Angelo Bronzino.
An effeminate but
strictly proper
young man, who ap-
pears to be saying,
"Dear me! I really
must turn my back
on that extraordi-
narily indelicate per-
son on the balcony.
Where are the po-
lice ? " Fancy any
modern portrait-
painter enlivening
his subject in this
eccentric manner.
Bronzino could do
itin Italy, but
where is Brass 'eno
to do it here ?
No. 150. Portrait
of Mrs. Villebois.
By Thos. Gains-
borough, R.A. One
of Baron Abome-
lique's wives, from
the Blue Chamber.
But what satin!
Magnificent! And
to think that this is
but a canvas-backed
duck after all!
No. 154. Portrait
of A Man. By Fer-
dinand Bol. "A
man" indeed! A
maudlin sottish
idiot, that ought to
be purchased by a
Temperance Society,
and exhibited as
a portrait of a
"Frightful Exam-
ple." Bol did not
choose a pleasant
subject. [If, for the
R.A. She seems to nonce, he had signed
have just remarked to somebody, "Don't annoy me, any of you, \ himself " Bowl," it would have been more appropriate,
for I can say something cruelly cutting when I choose." ^0. 158_ Portraits of the Marchesa de BrignoU and Child. By
TW™ ir, £°\%aV'f aF(emish. G^tleman. By Peter Paul ; gir Anthony Vandxck. The title of this work should be " Hydro-
riUBENS. in his lite-time this man, in spite of his high civic station, , , . „ p., A__• „ fif mho \r,,roVif>aq is too fris-htened
had a great deal of the " ruff " about him! What a fortune his ; Phobia" Observe the dog in a fit. The Marohee»»™^*™*
washerwoman must have made out of him! She could never have to mo^e from her seat, and grasps the child s hand, at tne same
been badly off for soap, or starch. time murmuring something about It won t hurt you, dear ; don t
No. 132. Cymon andLphigenia. By Sir Joshua Reynolds, P.R.A. be afraid."
Werk/Gegenstand/Objekt
Titel
Titel/Objekt
Fog Friday, 18th Jan.
Weitere Titel/Paralleltitel
Serientitel
Punch
Sachbegriff/Objekttyp
Inschrift/Wasserzeichen
Aufbewahrung/Standort
Aufbewahrungsort/Standort (GND)
Inv. Nr./Signatur
H 634-3 Folio
Objektbeschreibung
Maß-/Formatangaben
Auflage/Druckzustand
Werktitel/Werkverzeichnis
Herstellung/Entstehung
Künstler/Urheber/Hersteller (GND)
Entstehungsdatum
um 1878
Entstehungsdatum (normiert)
1873 - 1883
Entstehungsort (GND)
Auftrag
Publikation
Fund/Ausgrabung
Provenienz
Restaurierung
Sammlung Eingang
Ausstellung
Bearbeitung/Umgestaltung
Thema/Bildinhalt
Thema/Bildinhalt (GND)
Literaturangabe
Rechte am Objekt
Aufnahmen/Reproduktionen
Künstler/Urheber (GND)
Reproduktionstyp
Digitales Bild
Rechtsstatus
Public Domain Mark 1.0
Creditline
Punch, 74.1878, February 9, 1878, S. 54
Beziehungen
Erschließung
Lizenz
CC0 1.0 Public Domain Dedication
Rechteinhaber
Universitätsbibliothek Heidelberg