DOI Heft:
Heft 23/24
DOI Heft:English Supplement
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.27696#0661
ENGLISH SUPPLEMENT
MAX J. FRIEDLAENDER: JUAN DE
FLANDES
The author took a trip to Spain this autumn to
look for Dutch pictures, especially for pictures by
the Flemish painters, Michiel and Juan, who were
employed at the court of the reina Catolica. At the
World Exhibition in Barcelona there were many
panel pictures, but almost no Dutch art. From
Valencia from the S. Fernando chapel of the
cathedral there were two panels of the chief altar
and from Salamanca the predella of the university
altar. So what was left of Juan de Flandes’ certi-
fied work could bc examined under favourablc light
conditions. Juan was in the service of the Spanish
court, as has been proven by documents, from
r4g8on. i5o6 he was delegated the chief altar of
Palencia, and painted at least fifteen panels of
which only twelve were used. Of the three others
the Crucifixion is now to be found in the chapter
room, the Removal from the Cross and the Conse-
cration of Christ are now in the chapcl of S. Fer-
nando. Almost at the same time this master was
given orders for Salamancea and Palencia. Evident-
ly he was famous. He died in Palencia 1579 or
shortly before.
The chief motif in the Consecration of Christ
can be traced to Roger van der Wyden, who has
reproduccd this painful group in this manner more
than once, also in the altar of Mary in Granada,
a replica of the Miraflora altar, which Juan knew.
The Removal from the Cross is an original com-
position. C. Justi recognised the relation in style
between the pictures of the large altar of Palen-
cia and the famous series of small panels, most
of which are now in the palace in Madrid. The
small pancls were painted at an earlier date than
the Palencia altar, belween 1 /i98 and i5o4. In
addition to the i5 pictures of the original 46,
which were kept in the Madrid palace, 9 other
pictures single anil in pairs have come to light.
Some have been placed in the large public gallcries
(London, National Gallery; Vienna, State Gallery;
London, Aspley House; Paris, Louvre; Berlin,
Kaiser - Friedrich - Museum; Amsterdam, Goud-
stikker). In the parish church S. Lazaro Justi
found the remains of an altar which he correctly
attributed to the Dutch master. The author found
another panel by this artist in the Geneva Museum
(Cicerone, 1928, p. 254). In the Cook collection,
Richmond E. Bertram recognised another painting
hy Juan. Now that works of this master have been
increased we give his personality and achievement
its right due and enjoy the characteristic mixture
of northern and southern individuality and learn
something of value for the history of arl. The
stateliness of the figures can be seen to the best
advantage in the simple compositions, especially
where the figures are placed opposite one another.
The stuff of the robes is not full and often gives
the effect of having been ironed or pressed out.
The colouring is always harmonious, silvery and
cool with diffused light. The delicate dainty man-
ner with uniform enarnel and shimmering colour
surfaces has maintained the virtues of Dutch art
in the soutli — without taking into consideration
the large size of the Spanish altars and the light-
ing of the cathedrals there.
ALFRED SCHARF: THE BRIDE’S BAND-
BOX FROM THE FIGI )OR COLLECTION
The bride’s band-box of the Figdor collection, a
round drum-shaped casket of small dimensions
has been mentioned several times in literature. It
is completely covered with gold and richly decorat-
ed. The side shows medallions in pastiglia and be-
tween these foliage in relief, the cover is decorat-
ed with a small painting, the picture of two
lovers. Up to the present this picture on the cover
has been considered only in placing the date of thc
casket. Tliis has led to a great difference , of
opinion. The author of tliis article endeavours to
investigate the style not only of the cover but also
of the reliefs. His examination of the medallions
leads him to place the work some where near Pis-
anello. As to the picture on the cover there is a
drawing by Pisanello wliicli can he used in com-
parison. Although the details do not quite agree
with works which can be definitely atlributed to
him nevertheless the artigt who produced the casket
is to be found somewhere near him.
J. MEIER-GRAEFE: FRENCH
DRAWING
On the occasion of an exhibition given by Paul
Cassirer in Berlin the author has endeavoured to
analyze the characteristics of ig thcentury French
drawing. Formerly it was the primitives and the
painters of the Renaissance whose drawing was
considered good because they showed closed out-
lines. When the igth century classists also used the
same lines it was considered a mark of tradition
and frequently interpreted as decadence. Corot was
]
MAX J. FRIEDLAENDER: JUAN DE
FLANDES
The author took a trip to Spain this autumn to
look for Dutch pictures, especially for pictures by
the Flemish painters, Michiel and Juan, who were
employed at the court of the reina Catolica. At the
World Exhibition in Barcelona there were many
panel pictures, but almost no Dutch art. From
Valencia from the S. Fernando chapel of the
cathedral there were two panels of the chief altar
and from Salamanca the predella of the university
altar. So what was left of Juan de Flandes’ certi-
fied work could bc examined under favourablc light
conditions. Juan was in the service of the Spanish
court, as has been proven by documents, from
r4g8on. i5o6 he was delegated the chief altar of
Palencia, and painted at least fifteen panels of
which only twelve were used. Of the three others
the Crucifixion is now to be found in the chapter
room, the Removal from the Cross and the Conse-
cration of Christ are now in the chapcl of S. Fer-
nando. Almost at the same time this master was
given orders for Salamancea and Palencia. Evident-
ly he was famous. He died in Palencia 1579 or
shortly before.
The chief motif in the Consecration of Christ
can be traced to Roger van der Wyden, who has
reproduccd this painful group in this manner more
than once, also in the altar of Mary in Granada,
a replica of the Miraflora altar, which Juan knew.
The Removal from the Cross is an original com-
position. C. Justi recognised the relation in style
between the pictures of the large altar of Palen-
cia and the famous series of small panels, most
of which are now in the palace in Madrid. The
small pancls were painted at an earlier date than
the Palencia altar, belween 1 /i98 and i5o4. In
addition to the i5 pictures of the original 46,
which were kept in the Madrid palace, 9 other
pictures single anil in pairs have come to light.
Some have been placed in the large public gallcries
(London, National Gallery; Vienna, State Gallery;
London, Aspley House; Paris, Louvre; Berlin,
Kaiser - Friedrich - Museum; Amsterdam, Goud-
stikker). In the parish church S. Lazaro Justi
found the remains of an altar which he correctly
attributed to the Dutch master. The author found
another panel by this artist in the Geneva Museum
(Cicerone, 1928, p. 254). In the Cook collection,
Richmond E. Bertram recognised another painting
hy Juan. Now that works of this master have been
increased we give his personality and achievement
its right due and enjoy the characteristic mixture
of northern and southern individuality and learn
something of value for the history of arl. The
stateliness of the figures can be seen to the best
advantage in the simple compositions, especially
where the figures are placed opposite one another.
The stuff of the robes is not full and often gives
the effect of having been ironed or pressed out.
The colouring is always harmonious, silvery and
cool with diffused light. The delicate dainty man-
ner with uniform enarnel and shimmering colour
surfaces has maintained the virtues of Dutch art
in the soutli — without taking into consideration
the large size of the Spanish altars and the light-
ing of the cathedrals there.
ALFRED SCHARF: THE BRIDE’S BAND-
BOX FROM THE FIGI )OR COLLECTION
The bride’s band-box of the Figdor collection, a
round drum-shaped casket of small dimensions
has been mentioned several times in literature. It
is completely covered with gold and richly decorat-
ed. The side shows medallions in pastiglia and be-
tween these foliage in relief, the cover is decorat-
ed with a small painting, the picture of two
lovers. Up to the present this picture on the cover
has been considered only in placing the date of thc
casket. Tliis has led to a great difference , of
opinion. The author of tliis article endeavours to
investigate the style not only of the cover but also
of the reliefs. His examination of the medallions
leads him to place the work some where near Pis-
anello. As to the picture on the cover there is a
drawing by Pisanello wliicli can he used in com-
parison. Although the details do not quite agree
with works which can be definitely atlributed to
him nevertheless the artigt who produced the casket
is to be found somewhere near him.
J. MEIER-GRAEFE: FRENCH
DRAWING
On the occasion of an exhibition given by Paul
Cassirer in Berlin the author has endeavoured to
analyze the characteristics of ig thcentury French
drawing. Formerly it was the primitives and the
painters of the Renaissance whose drawing was
considered good because they showed closed out-
lines. When the igth century classists also used the
same lines it was considered a mark of tradition
and frequently interpreted as decadence. Corot was
]