DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61252#0314
270
THE GROSVENOR GALLERY.
Adultery,) and in radiant colour surpasses it; to say nothing
of the superior beauty of the subject.
P. 1 ft. 9 in. by 1 ft. 6 in. Arched at top. It was formerly in the
collection of the King of Sardinia, and brought to England by
M. Erard in 1812, when it was purchased by the Marquis of West-
minster. (Smith’s Cat. 57.)
109 A Landscape—with figures. The effect is that of a
glowing evening light, most powerfully painted. The
figures are by Teniers, in whose private collection this
picture once found a place.
RUBENS (Petei’ Paul), b. 1577 ; d. 1640. [See the Introduction
to this gallery.]
110 Sarah dismissing Hagar.—Three figures. The sub-
ject is treated as a scene in domestic life. Sarah is a Fle-
mish scold, and Hagar a dejected servant maid. Ishmael,
though the primal cause of the event, is not introduced, so
that the conception may be regarded as defective, but the
execution is exceedingly fine and animated. There is an
energy of expression in the look and attitude of Sarah,
which Mrs. Siddons thought worthy of her study and imi-
tation. Agar collection.
2 ft. 4 in. by 3 ft. 4 in. (Smith’s Cat. 773.)
111 Ixion.—He embraces the cloud in the semblance of
Juno. Juno herself, distinguished by the peacock at her
feet, turns her back on the group, over which Deceit, cha-
racterized by the fox’s skin, is throwing a veil. In the
background Cupid is seen flying towards Olympus with
the tidings of the successful illusion. The difference
between the cloud phantom and Juno is not sufficiently
marked, and both are much too substantial. The colour-
ing is temperate and delicate for Rubens. Agar collection.
It was formerly (1766) in the possession of Sir Gregory
P. Turner. P. 5 ft. 7 in. by 8 ft. 1 in. (Smith’s Cat. 846.)
112 Portraits.—Rubens and his first wife, Elizabeth Brant.
Figures full length, seated. They are represented in the
characters of Pausias, the Greek painter, and his mistress
THE GROSVENOR GALLERY.
Adultery,) and in radiant colour surpasses it; to say nothing
of the superior beauty of the subject.
P. 1 ft. 9 in. by 1 ft. 6 in. Arched at top. It was formerly in the
collection of the King of Sardinia, and brought to England by
M. Erard in 1812, when it was purchased by the Marquis of West-
minster. (Smith’s Cat. 57.)
109 A Landscape—with figures. The effect is that of a
glowing evening light, most powerfully painted. The
figures are by Teniers, in whose private collection this
picture once found a place.
RUBENS (Petei’ Paul), b. 1577 ; d. 1640. [See the Introduction
to this gallery.]
110 Sarah dismissing Hagar.—Three figures. The sub-
ject is treated as a scene in domestic life. Sarah is a Fle-
mish scold, and Hagar a dejected servant maid. Ishmael,
though the primal cause of the event, is not introduced, so
that the conception may be regarded as defective, but the
execution is exceedingly fine and animated. There is an
energy of expression in the look and attitude of Sarah,
which Mrs. Siddons thought worthy of her study and imi-
tation. Agar collection.
2 ft. 4 in. by 3 ft. 4 in. (Smith’s Cat. 773.)
111 Ixion.—He embraces the cloud in the semblance of
Juno. Juno herself, distinguished by the peacock at her
feet, turns her back on the group, over which Deceit, cha-
racterized by the fox’s skin, is throwing a veil. In the
background Cupid is seen flying towards Olympus with
the tidings of the successful illusion. The difference
between the cloud phantom and Juno is not sufficiently
marked, and both are much too substantial. The colour-
ing is temperate and delicate for Rubens. Agar collection.
It was formerly (1766) in the possession of Sir Gregory
P. Turner. P. 5 ft. 7 in. by 8 ft. 1 in. (Smith’s Cat. 846.)
112 Portraits.—Rubens and his first wife, Elizabeth Brant.
Figures full length, seated. They are represented in the
characters of Pausias, the Greek painter, and his mistress