DOI Page / Citation link:
https://doi.org/10.11588/diglit.22422#0016
4
BUCKINGHAM PALACE.
Letter XIII.
5. Portrait of a man in black dress ; a book in his left hand.
Both the loftiness of the conception and the flesh tones show the
powerful and beneficial influence which Titian exercised over
Vandyck.
6. A kind of manege. Three horsemen, with their horses walk-
ing, trotting, and galloping. This is a free and carefully executed
copy, on a smaller scale, of a sketch by Rubens, in the Museum
at Berlin.
Isaac Mytens.—Charles I. with his Queen and one child, in
a large apartment. The figures, which are small, are painted in
miniature-like style, in a tender silver tone, and testify the ability of
this artist, who, before Vandyck came to England, was Charles I.'s
favourite painter.
Cornelius Jansen.—Charles I. and personages of his court in
the Green Park ; executed in the taste of Lucas van Uden. A
pretty and careful picture.
Cornelius Poelenburg.—The Campo Vaccino enlivened with
numerous figures—very tender and harmonious.
Frank Hals.—Portrait of a man: the left hand holding a
glove, the right resting on his hip : to the knees. Vandyck's admi-
ration of this painter is well justified by this specimen ; for the
conception is unusually spirited and animated, even for Frank
Hals, and agrees in every way with the broad and firm execution.
In my opinion the real value of this painter in the history of
Dutch art has never been sufficiently appreciated. He was the
first who introduced the broad manner of Rubens into Holland,
where it was adopted and followed up with the greatest success
by Rembrandt, who was born twenty years later.
Rembrandt.—1. A shipbuilder, occupied in making a drawing
of a ship, is interrupted by his wife, who has just come into the
room with a letter. Both are dressed in black, with white collars.
Inscribed 1633. To the knees, the size of life. This picture,
painted in his twenty-seventh year, is justly one of the most cele-
brated of this master. The momentary nature of the simple action,
the truth of the heads, the wonderful clearness of the full bright sun-
light, and the careful conscientious execution, render it extremely
attractive. Compared with the picture of the Anatomical Lecture
painted in 1G32, now one of the chief ornaments of the Gallery
of the Hague, the tone of the flesh, though still light, has a glow
BUCKINGHAM PALACE.
Letter XIII.
5. Portrait of a man in black dress ; a book in his left hand.
Both the loftiness of the conception and the flesh tones show the
powerful and beneficial influence which Titian exercised over
Vandyck.
6. A kind of manege. Three horsemen, with their horses walk-
ing, trotting, and galloping. This is a free and carefully executed
copy, on a smaller scale, of a sketch by Rubens, in the Museum
at Berlin.
Isaac Mytens.—Charles I. with his Queen and one child, in
a large apartment. The figures, which are small, are painted in
miniature-like style, in a tender silver tone, and testify the ability of
this artist, who, before Vandyck came to England, was Charles I.'s
favourite painter.
Cornelius Jansen.—Charles I. and personages of his court in
the Green Park ; executed in the taste of Lucas van Uden. A
pretty and careful picture.
Cornelius Poelenburg.—The Campo Vaccino enlivened with
numerous figures—very tender and harmonious.
Frank Hals.—Portrait of a man: the left hand holding a
glove, the right resting on his hip : to the knees. Vandyck's admi-
ration of this painter is well justified by this specimen ; for the
conception is unusually spirited and animated, even for Frank
Hals, and agrees in every way with the broad and firm execution.
In my opinion the real value of this painter in the history of
Dutch art has never been sufficiently appreciated. He was the
first who introduced the broad manner of Rubens into Holland,
where it was adopted and followed up with the greatest success
by Rembrandt, who was born twenty years later.
Rembrandt.—1. A shipbuilder, occupied in making a drawing
of a ship, is interrupted by his wife, who has just come into the
room with a letter. Both are dressed in black, with white collars.
Inscribed 1633. To the knees, the size of life. This picture,
painted in his twenty-seventh year, is justly one of the most cele-
brated of this master. The momentary nature of the simple action,
the truth of the heads, the wonderful clearness of the full bright sun-
light, and the careful conscientious execution, render it extremely
attractive. Compared with the picture of the Anatomical Lecture
painted in 1G32, now one of the chief ornaments of the Gallery
of the Hague, the tone of the flesh, though still light, has a glow