DOI Heft:
Nr. 332 (January 1925)
DOI Artikel:M'Cormick, William B.: Otto H. Kahn collection
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19984#0026
tnteRnAUoriAL
'"THE FAMILY" BY FRANS HALS (1580-1666)
through its color and the na'ievte of its composi- and gold crown, a striking note of the painting
tion. The second Baronzio, "The Madonna and being the greenish tint on the faces of both figures.
Child Enthroned," is closer to the Byzantine tra- This work is one of the rareties of Mr. Kahn's col-
dition and has less of that Giottoesque quality lection, a distinction it shares with another small
which is so often to be found in the work of this upright panel by the little known Bartolo ch
follower of that master. For rarity of technique Maestro Fredi who painted in Siena in the lour-
the figure of "Fidelity" hanging in the eastern- tcenth century. The figure, presumably of the
most panel of the south wall may be awarded the Madonna, wears a blue velvet cloak over a cloth-
palm here since it is a fresco by Francesco di of-gold gown with touches of scarlet and stands
Giorgio that has been transferred to canvas. A against a background of lustrous gold,
wall decoration in some Sienese palace, the figure The three other paintings in this collection are
of the woman in pale red robes stands on the back placed in the library. Two of the pictures are so
of a white dog w ho is resting on the lloor looking widely known as to require merely the stating of
upward at the figure he bears so patiently. their names to evoke their mental presences.
On the north wail hangs the "Virgin and Above the fireplace hangs Rembrandt's "A Jew^,"
Child" by Pier Francesco Fiorentino, the figures and in a designed space on the east wall is the
placed against a leafy screen suggesting the pat- great Hals, "The Painter and His Family," long
tern of a millefleurs tapestry and having a degree exhibited at the Metropolitan Museum of Art and,
of human tenderness not often approached among since its rediscovery in the Colonel Warde collec-
similar subjects of that time. In remarkable con- tion in England in 1906, often reproduced,
trast to this is the "Madonna and Child" by the The third painting here is the "St. John at
Roman Cavallini of the thirteenth century, a work Patmos" by Joost van Cleve, so long known as
of true Primitive character, still bearing traces of the Master of the Death of the Virgin. Sir Martin
the Byzantine school in its formalism and in the Conway in his work on The Van Eycks and Their
dusky countenances of the mother and child. This Followers suggests that the background of the
picture, which w^as traditionally ascribed to Cima- picture was painted by Joachim de Patinir. In
bue, hung for many years in an old church in this glowing example of Flemish religious art the
Colahorra in Spain and is the only panel picture saint is show^n seated on a rocky knoll with a book
by Cavallini which has come to light, its elate on his knee, his pen held in suspense over its open
being somewhere between 1273 and 1276. Below page as he looks upward to the serene blue sky
this stands a "Madonna and Child" by Neroccio, wherein appear the Madonna and Child in a white
the fifteenth-century Siena painter, the Virgin cloud of oval form. Behind and at either side of
represented in a black hood and mantle over a red him spreads a broad landscape.
two eighty-six
JANUARY 1925
'"THE FAMILY" BY FRANS HALS (1580-1666)
through its color and the na'ievte of its composi- and gold crown, a striking note of the painting
tion. The second Baronzio, "The Madonna and being the greenish tint on the faces of both figures.
Child Enthroned," is closer to the Byzantine tra- This work is one of the rareties of Mr. Kahn's col-
dition and has less of that Giottoesque quality lection, a distinction it shares with another small
which is so often to be found in the work of this upright panel by the little known Bartolo ch
follower of that master. For rarity of technique Maestro Fredi who painted in Siena in the lour-
the figure of "Fidelity" hanging in the eastern- tcenth century. The figure, presumably of the
most panel of the south wall may be awarded the Madonna, wears a blue velvet cloak over a cloth-
palm here since it is a fresco by Francesco di of-gold gown with touches of scarlet and stands
Giorgio that has been transferred to canvas. A against a background of lustrous gold,
wall decoration in some Sienese palace, the figure The three other paintings in this collection are
of the woman in pale red robes stands on the back placed in the library. Two of the pictures are so
of a white dog w ho is resting on the lloor looking widely known as to require merely the stating of
upward at the figure he bears so patiently. their names to evoke their mental presences.
On the north wail hangs the "Virgin and Above the fireplace hangs Rembrandt's "A Jew^,"
Child" by Pier Francesco Fiorentino, the figures and in a designed space on the east wall is the
placed against a leafy screen suggesting the pat- great Hals, "The Painter and His Family," long
tern of a millefleurs tapestry and having a degree exhibited at the Metropolitan Museum of Art and,
of human tenderness not often approached among since its rediscovery in the Colonel Warde collec-
similar subjects of that time. In remarkable con- tion in England in 1906, often reproduced,
trast to this is the "Madonna and Child" by the The third painting here is the "St. John at
Roman Cavallini of the thirteenth century, a work Patmos" by Joost van Cleve, so long known as
of true Primitive character, still bearing traces of the Master of the Death of the Virgin. Sir Martin
the Byzantine school in its formalism and in the Conway in his work on The Van Eycks and Their
dusky countenances of the mother and child. This Followers suggests that the background of the
picture, which w^as traditionally ascribed to Cima- picture was painted by Joachim de Patinir. In
bue, hung for many years in an old church in this glowing example of Flemish religious art the
Colahorra in Spain and is the only panel picture saint is show^n seated on a rocky knoll with a book
by Cavallini which has come to light, its elate on his knee, his pen held in suspense over its open
being somewhere between 1273 and 1276. Below page as he looks upward to the serene blue sky
this stands a "Madonna and Child" by Neroccio, wherein appear the Madonna and Child in a white
the fifteenth-century Siena painter, the Virgin cloud of oval form. Behind and at either side of
represented in a black hood and mantle over a red him spreads a broad landscape.
two eighty-six
JANUARY 1925