DOI Page / Citation link:
https://doi.org/10.11588/diglit.22422#0015
Letter XIII.
DUTCH AND FLEMISH PICTUEES.
3
to great advantage here in two pictures—the one a head of the
Bishop of Antwerp, most animatedly conceived and painted in a
broad and full tone ; the other the portrait of a man with a falcon
on his wrist, and a landscape background, in evening light, of an
unusually delicate feeling for nature, and of a warm yet subdued
tone ; broadly but carefully executed. This is on wood, 4 ft. 6 in.
high, 3 ft. 5 in. wide.
6. St. George with the dead dragon—conceived in a landscape
style. Unfortunately this somewhat gaudy and spotty picture has
much darkened. On canvas, 5 ft. 4 in. high, 5 ft. 7 in. wide.
7. Finally, Rubens displays himself as a landscape-painter in
his well-known " Prairie de Lacken." The spectator may fancy
himself transported to the fertile plains of Brabant, in the neigh-
bourhood of Brussels. The fresh green of the trees and of the
luxuriant meadows is glistening in the rays of the sun, which is
piercing a light cloud. Among the figures two peasant-girls, one
of them carrying a basket with fruit on her head, are especially
remarkable. In the careful finish of every portion scarcely any land-
scape of Rubens equals this, and in truth, transparency, and fresh-
ness, very few excel it. It was purchased in Paris, from the Agnard
collection, for George IV. On wood, 2 ft. 10 in. high, 4 ft. 1 in. wide.
Finally I must mention a picture here attributed, but I feel
erroneously, to Rubens—Oldenbarneveldt visited by his son. But
the peculiar energy of this great master is wanting. The colouring
also is feeble, and, in the figure of the son, heavy.
Vandyck.—1. Christ healing the lame. An early picture, as
is evident from the affinity to Rubens in colour and general treat-
ment. The expression of the lame man k very speaking.
2. The Virgin and Child and St. Catherine. The conception
of the Child shows the influence of Rubens, but the colouring is
more subdued.
3. The Virgin and Child. Probably painted during his resi-
dence in Venice, for, while the somewhat thick and empty figure
of the Child shows the influence of Rubens, the Virgin is decid-
edly Titianesque. The delicate, subdued, golden tone of this
picture, and the careful execution, make it very attractive.
4. Charles I. upon a dun-coloured horse. Behind him Sir Thomas
Norton, Master of the Horse. An excellent study for the great
picture at Blenheim.
b 2
DUTCH AND FLEMISH PICTUEES.
3
to great advantage here in two pictures—the one a head of the
Bishop of Antwerp, most animatedly conceived and painted in a
broad and full tone ; the other the portrait of a man with a falcon
on his wrist, and a landscape background, in evening light, of an
unusually delicate feeling for nature, and of a warm yet subdued
tone ; broadly but carefully executed. This is on wood, 4 ft. 6 in.
high, 3 ft. 5 in. wide.
6. St. George with the dead dragon—conceived in a landscape
style. Unfortunately this somewhat gaudy and spotty picture has
much darkened. On canvas, 5 ft. 4 in. high, 5 ft. 7 in. wide.
7. Finally, Rubens displays himself as a landscape-painter in
his well-known " Prairie de Lacken." The spectator may fancy
himself transported to the fertile plains of Brabant, in the neigh-
bourhood of Brussels. The fresh green of the trees and of the
luxuriant meadows is glistening in the rays of the sun, which is
piercing a light cloud. Among the figures two peasant-girls, one
of them carrying a basket with fruit on her head, are especially
remarkable. In the careful finish of every portion scarcely any land-
scape of Rubens equals this, and in truth, transparency, and fresh-
ness, very few excel it. It was purchased in Paris, from the Agnard
collection, for George IV. On wood, 2 ft. 10 in. high, 4 ft. 1 in. wide.
Finally I must mention a picture here attributed, but I feel
erroneously, to Rubens—Oldenbarneveldt visited by his son. But
the peculiar energy of this great master is wanting. The colouring
also is feeble, and, in the figure of the son, heavy.
Vandyck.—1. Christ healing the lame. An early picture, as
is evident from the affinity to Rubens in colour and general treat-
ment. The expression of the lame man k very speaking.
2. The Virgin and Child and St. Catherine. The conception
of the Child shows the influence of Rubens, but the colouring is
more subdued.
3. The Virgin and Child. Probably painted during his resi-
dence in Venice, for, while the somewhat thick and empty figure
of the Child shows the influence of Rubens, the Virgin is decid-
edly Titianesque. The delicate, subdued, golden tone of this
picture, and the careful execution, make it very attractive.
4. Charles I. upon a dun-coloured horse. Behind him Sir Thomas
Norton, Master of the Horse. An excellent study for the great
picture at Blenheim.
b 2