DOI issue:
No. 334 (January 1921)
DOI article:Spanish paintings at Burlington House
DOI Page / Citation link:https://doi.org/10.11588/diglit.21392#0026
SPANISH PAINTINGS AT BURLINGTON HOUSE
THE BOWER." BY
SANTIAGO RUSINOL
and all the latter part of his life was spent
in Italy. Zurbaran is more fully repre-
sented, and in some respects the most
interesting example is an early work,
The Virgin as a young girl doing needlework.
A large Crucifixion, by Alonso Cano, a
fellow pupil of Velazquez in Pacheco's
studio, bears a certain resemblance to a
similar painting by the greater master in
the Prado. Del Mazo, assistant and son-
in-law of Velazquez, is not seen to great
advantage in the two works assigned to
him. Murillo, pre-eminent among painters
of the generation that grew up under the
influence of Velazquez and famous for
his many paintings of Immaculadas, of
which one example, from Lord Lans-
downe's collection, is in the exhibition,
was also a great painter of landscape,
animals and still life, as well as portraits,
but the seven works at Burlington House
give only a faint hint of this diversity, a
10
Numerically it is to Goya that has fallen
the lion's share in this display, one
gallery having been set apart for a group
of some twenty-four paintings by him,
all of which with one exception (a portrait
lent by Mr. Otto Beit) have been sent
from Spain. This group may, in fact,
be justly regarded as the clou of the ex-
hibition, for though Goya is well known
to many connoisseurs here by his wonder-
ful etchings, as a painter he has hitherto
been almost a total stranger. A worthy
descendant of the great masters who
preceded him by two centuries, he is here
seen in the rcle of painter of portraits, of
landscapes, and open-air scenes, and
especially of those grimly realistic subject
pictures in which his true genius expressed
itself with so much energy, a a 0
It is by no means a homogeneous
collection of work that confronts the
visitor in the galleries set apart for the
THE BOWER." BY
SANTIAGO RUSINOL
and all the latter part of his life was spent
in Italy. Zurbaran is more fully repre-
sented, and in some respects the most
interesting example is an early work,
The Virgin as a young girl doing needlework.
A large Crucifixion, by Alonso Cano, a
fellow pupil of Velazquez in Pacheco's
studio, bears a certain resemblance to a
similar painting by the greater master in
the Prado. Del Mazo, assistant and son-
in-law of Velazquez, is not seen to great
advantage in the two works assigned to
him. Murillo, pre-eminent among painters
of the generation that grew up under the
influence of Velazquez and famous for
his many paintings of Immaculadas, of
which one example, from Lord Lans-
downe's collection, is in the exhibition,
was also a great painter of landscape,
animals and still life, as well as portraits,
but the seven works at Burlington House
give only a faint hint of this diversity, a
10
Numerically it is to Goya that has fallen
the lion's share in this display, one
gallery having been set apart for a group
of some twenty-four paintings by him,
all of which with one exception (a portrait
lent by Mr. Otto Beit) have been sent
from Spain. This group may, in fact,
be justly regarded as the clou of the ex-
hibition, for though Goya is well known
to many connoisseurs here by his wonder-
ful etchings, as a painter he has hitherto
been almost a total stranger. A worthy
descendant of the great masters who
preceded him by two centuries, he is here
seen in the rcle of painter of portraits, of
landscapes, and open-air scenes, and
especially of those grimly realistic subject
pictures in which his true genius expressed
itself with so much energy, a a 0
It is by no means a homogeneous
collection of work that confronts the
visitor in the galleries set apart for the