DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0243
THE SUTHERLAND GALLERY.
199
§9 A Madonna and Child.—The Virgin, seen half-
length, holds on her knee the infant Christ; St. John is
fondly embracing him. The background a wild rocky
landscape.* P. 8 in. by 7 in.
SUBLEYRAS (Pierre), b. 1699 ; d. 1749. French S.
[Not only, as Dr. Waagen styles him, the best French historical
painter of his own time, but, excepting Poussin, the best down to
modern times. His pictures are frequent in France and Italy,
(eight are in the Louvre;) but so rare in England, that the portrait
here is the only example I remember.]
90 Portrait of Benedict XIV.—(Prospero Lambertini);
not quite full length ; the right hand raised, the left rests
on the arm of his chair; he is habited in the pontifical
robes. The countenance very expressive of the sense,
acuteness, humour, and benevolence which characterized
this excellent Pope, who died in 1758. Dated in 1740.
A most admirable picture; the head, the hands, the dra-
pery, the rich point lace—all painted with the utmost care,
in a full, bright light; little shadow.
From the cabinet of M. Le Noir.
STANZIONE (Massimo), b. 1585 ; d. 1656. [A Neapolitan painter,
called also the Chevalier Maxime; cotemporary with Spagnoletto, to
whom he was considered a formidable rival, but is less known out of
his native country, where his best works are found.]
91 An Italian Peasant Girl—with a cock in her arms.
Life size.f
TINTORETTO (Giacopo Robusti), b. 1512 ; d. 1594. Venetian S.
[This admirable but most unequal painter now and then rivalled
his master, Titian ; but his dashing bravura of style frequently be-
came carelessness and exaggeration. Tintoretto, in his male por-
traits, often equalled Titian in spirit—never in dignity; and in his
female portraits is every way beneath him.]
* As I have never seen any pictures of Stefano which I can distinctly recall,
I can say nothing against the genuineness of this pretty little picture, but it
seems of a later date. (See Lanzi, T. v., p. 190.)
t “ The vivid conception, the correct drawing, the manner in which every part
is broadly yet carefully individualized, and the bright, warm, rich colouring,
lend to this picture a great and peculiar charm.”—Dr. Waagen.
199
§9 A Madonna and Child.—The Virgin, seen half-
length, holds on her knee the infant Christ; St. John is
fondly embracing him. The background a wild rocky
landscape.* P. 8 in. by 7 in.
SUBLEYRAS (Pierre), b. 1699 ; d. 1749. French S.
[Not only, as Dr. Waagen styles him, the best French historical
painter of his own time, but, excepting Poussin, the best down to
modern times. His pictures are frequent in France and Italy,
(eight are in the Louvre;) but so rare in England, that the portrait
here is the only example I remember.]
90 Portrait of Benedict XIV.—(Prospero Lambertini);
not quite full length ; the right hand raised, the left rests
on the arm of his chair; he is habited in the pontifical
robes. The countenance very expressive of the sense,
acuteness, humour, and benevolence which characterized
this excellent Pope, who died in 1758. Dated in 1740.
A most admirable picture; the head, the hands, the dra-
pery, the rich point lace—all painted with the utmost care,
in a full, bright light; little shadow.
From the cabinet of M. Le Noir.
STANZIONE (Massimo), b. 1585 ; d. 1656. [A Neapolitan painter,
called also the Chevalier Maxime; cotemporary with Spagnoletto, to
whom he was considered a formidable rival, but is less known out of
his native country, where his best works are found.]
91 An Italian Peasant Girl—with a cock in her arms.
Life size.f
TINTORETTO (Giacopo Robusti), b. 1512 ; d. 1594. Venetian S.
[This admirable but most unequal painter now and then rivalled
his master, Titian ; but his dashing bravura of style frequently be-
came carelessness and exaggeration. Tintoretto, in his male por-
traits, often equalled Titian in spirit—never in dignity; and in his
female portraits is every way beneath him.]
* As I have never seen any pictures of Stefano which I can distinctly recall,
I can say nothing against the genuineness of this pretty little picture, but it
seems of a later date. (See Lanzi, T. v., p. 190.)
t “ The vivid conception, the correct drawing, the manner in which every part
is broadly yet carefully individualized, and the bright, warm, rich colouring,
lend to this picture a great and peculiar charm.”—Dr. Waagen.