DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0452
426 OLD WORLD MASTERS
pupils; or rather his assistants. This practice has, of course, lessened
the value of his portraits.
“These are grave failings; but on the other side, his great merits
are incontestable and weigh the scale in his favor. Where, except
among the very greatest of those whose fame chiefly rests on their
excellence in the art of portrait-painting—such giants as Titian, Ru-
bens, Rembrandt, Velasquez, and Van Dyck, Reynolds, and Gains-
borough—can finer work be shown them than in such astonishing
likenesses as those of Lawrence when at his best; and the master must
be judged by his master-works. His style, when once he had adopted
it, had the great merit of being a style of its own, of much refine-
ment and excellence in drawing; although his work was, perhaps, too
smooth in technique and somewhat affected in feeling. His paintings
have lasted, whereas those of many of his contemporaries are mere
wrecks and shadows of their former selves; for he attempted no experi-
ments in glazings and pigments, as was Sir Joshua’s wont, and his
pictures are, as a rule, as fresh as when they were painted.
“ I believe it only fair to place him immediately beneath our three '
greatest portrait-painters,—that immortal trio, Reynolds, Gainsbor-
ough, and Romney: at a time when Hoppner, Opie, and Raeburn
were all working, this is high praise.”
PINKIE.
Sir Thomas Lawrence Collection of the late
(1769-1830). Mr. Henry E. Huntington.
This radiant portrait is generally considered to be Lawrence’s
masterpiece. How fresh, how sweet, how breezy it is! “Pinkie”
stands on a high hill with a beautiful low-lying landscape of wooded
hills spreading out and undulating towards the distant horizon. The
sky is dappled with swiftly moving clouds and the morning breeze is
blowing pretty freshly, for Pinkie’s light gown is rippling with it and
the strings of her bonnet are fluttering and flapping rather violently.
These ribbons are pink, matching the sash which holds the diapha-
pupils; or rather his assistants. This practice has, of course, lessened
the value of his portraits.
“These are grave failings; but on the other side, his great merits
are incontestable and weigh the scale in his favor. Where, except
among the very greatest of those whose fame chiefly rests on their
excellence in the art of portrait-painting—such giants as Titian, Ru-
bens, Rembrandt, Velasquez, and Van Dyck, Reynolds, and Gains-
borough—can finer work be shown them than in such astonishing
likenesses as those of Lawrence when at his best; and the master must
be judged by his master-works. His style, when once he had adopted
it, had the great merit of being a style of its own, of much refine-
ment and excellence in drawing; although his work was, perhaps, too
smooth in technique and somewhat affected in feeling. His paintings
have lasted, whereas those of many of his contemporaries are mere
wrecks and shadows of their former selves; for he attempted no experi-
ments in glazings and pigments, as was Sir Joshua’s wont, and his
pictures are, as a rule, as fresh as when they were painted.
“ I believe it only fair to place him immediately beneath our three '
greatest portrait-painters,—that immortal trio, Reynolds, Gainsbor-
ough, and Romney: at a time when Hoppner, Opie, and Raeburn
were all working, this is high praise.”
PINKIE.
Sir Thomas Lawrence Collection of the late
(1769-1830). Mr. Henry E. Huntington.
This radiant portrait is generally considered to be Lawrence’s
masterpiece. How fresh, how sweet, how breezy it is! “Pinkie”
stands on a high hill with a beautiful low-lying landscape of wooded
hills spreading out and undulating towards the distant horizon. The
sky is dappled with swiftly moving clouds and the morning breeze is
blowing pretty freshly, for Pinkie’s light gown is rippling with it and
the strings of her bonnet are fluttering and flapping rather violently.
These ribbons are pink, matching the sash which holds the diapha-