DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.23229#0218
Fig. 224. Paolo Veronese, Marriage at Cana, 1562-1563, oil on canvas, Musee du Louvre, Paris.
Fig. 225. Bartolome Esteban Murillo, Virgin
and Child, oil on canvas, mid-17"1 century,
Dresden Gallery.
Which painting did he have in mind: The Feast in the House of Levi (1573)
in the Accademia di Venezia or the Marriage at Cana (1563) in the Louvre?
(fig. 224)135 Both paintings, with their perspective, arrangements of people
and, first of all, with the staircases they depict, are masterpieces. Chopi-
n's description of Stafford House (now Lancaster House) is astonishing,
as if written by an artist or a connoisseur, and the reference to Verone-
se in connection to the magnificence of the staircases is brilliant: they are
"[...] of the loveliest design with the loveliest perspective [...] one regrets
that [...] Veronese could not see such a spectacle, so that he could have
painted one more masterpiece". Chopin almost perfectly ascertained the
true nature of Veronese's genius, the essence of his art. In his journal, De-
lacroix also referred to Veronese136; one wonders whether he ever discus-
sed Veronese's masterpieces with Chopin.
It is also not known whether Chopin was enchanted with Murillo's pain-
tings in Dresden, for example the Madonna with the Child (fig. 225), or in
the Louvre137. In his letter to Count Grzymata dated 1st October 1848 he
reported:
The owner of this house is called Sterling, a cousin's cousin of our
Scottish ladies, and the head of that clan. I met him in London; a rich
bachelor, who owns a fine collection here: many Murillos and other Spa-
nish masters. He has just brought out an expensive work (you know,
they know how to do that) on the Spanish school.138
236
Fig. 225. Bartolome Esteban Murillo, Virgin
and Child, oil on canvas, mid-17"1 century,
Dresden Gallery.
Which painting did he have in mind: The Feast in the House of Levi (1573)
in the Accademia di Venezia or the Marriage at Cana (1563) in the Louvre?
(fig. 224)135 Both paintings, with their perspective, arrangements of people
and, first of all, with the staircases they depict, are masterpieces. Chopi-
n's description of Stafford House (now Lancaster House) is astonishing,
as if written by an artist or a connoisseur, and the reference to Verone-
se in connection to the magnificence of the staircases is brilliant: they are
"[...] of the loveliest design with the loveliest perspective [...] one regrets
that [...] Veronese could not see such a spectacle, so that he could have
painted one more masterpiece". Chopin almost perfectly ascertained the
true nature of Veronese's genius, the essence of his art. In his journal, De-
lacroix also referred to Veronese136; one wonders whether he ever discus-
sed Veronese's masterpieces with Chopin.
It is also not known whether Chopin was enchanted with Murillo's pain-
tings in Dresden, for example the Madonna with the Child (fig. 225), or in
the Louvre137. In his letter to Count Grzymata dated 1st October 1848 he
reported:
The owner of this house is called Sterling, a cousin's cousin of our
Scottish ladies, and the head of that clan. I met him in London; a rich
bachelor, who owns a fine collection here: many Murillos and other Spa-
nish masters. He has just brought out an expensive work (you know,
they know how to do that) on the Spanish school.138
236