DOI Page / Citation link:
https://doi.org/10.11588/diglit.22422#0182
170
THE GROSVENOR GALLERY. Lettek XVI.
Adultery, and a large landscape, bung too high to pass a decided
judgment on them. Yet the first appears to be a good picture by
Andrea Schiavone, with his characteristic action, expression, and
peculiar glow of colour. The second, a noble composition, judging
from the heavy and dark general tone, may be of a later time,
perhaps that of Gaspar Poussin.
By Parmigianino is here the spirited original sketch for the
large picture in the National Gallery.
Of the School of the Carracci I may mention the following
pictures :—
Lodovico Carracci.—A Holy Family; figures the size of
life. With a depth and warmth of colouring very unusual for him.
Domenichino.—A large landscape, with the meeting of David
and Abigail. Very poetical in composition. Of fine body, and
very forcible in colouring and effect of light.
Guido Ejeni.—1. A most carefully and warmly coloured repe-
tition of the Fortune, of which there are so many specimens.
2. The Nativity ; a small and very carefully-finished picture.
A similar one is at Charlton Park, the seat of Lord Suffolk.
By other Italian masters the principal are,—
Ribera.—Diogenes. Executed with peculiar severity and
care, in a clear, warm, yellowish tone.
Pietro da Cortona.—Hagar in the Desert. With more
feeling than usual, and in a very harmonious tone.
Andrea Sacchi.—St. Bruno. The white garment here is no
less excellent than the drapery in the celebrated Vision of St.
Romualdus at Rome, but the head is still more vacant and dis-
agreeable.
Salvator Rosa.—Here are two of his great historical pic-
tures. 1. Democritus, in the deepest solitude, surrounded with
skeletons, statues, and other objects of nature and art, indulging
in philosophical meditations. Only a scanty light illumines in
some degree the general gloom. This picture is very character-
istic of the tendency of this master to the fantastic and grand,
which renders him so popular in England.
2. The companion picture. Diogenes throwing away the cup, on
seeing the boy drink out of the hollow of his hand ; this shows the
painter on his cynical, humorous side. He must have set a par-
ticular value on these pictures, for he etched them himself.
THE GROSVENOR GALLERY. Lettek XVI.
Adultery, and a large landscape, bung too high to pass a decided
judgment on them. Yet the first appears to be a good picture by
Andrea Schiavone, with his characteristic action, expression, and
peculiar glow of colour. The second, a noble composition, judging
from the heavy and dark general tone, may be of a later time,
perhaps that of Gaspar Poussin.
By Parmigianino is here the spirited original sketch for the
large picture in the National Gallery.
Of the School of the Carracci I may mention the following
pictures :—
Lodovico Carracci.—A Holy Family; figures the size of
life. With a depth and warmth of colouring very unusual for him.
Domenichino.—A large landscape, with the meeting of David
and Abigail. Very poetical in composition. Of fine body, and
very forcible in colouring and effect of light.
Guido Ejeni.—1. A most carefully and warmly coloured repe-
tition of the Fortune, of which there are so many specimens.
2. The Nativity ; a small and very carefully-finished picture.
A similar one is at Charlton Park, the seat of Lord Suffolk.
By other Italian masters the principal are,—
Ribera.—Diogenes. Executed with peculiar severity and
care, in a clear, warm, yellowish tone.
Pietro da Cortona.—Hagar in the Desert. With more
feeling than usual, and in a very harmonious tone.
Andrea Sacchi.—St. Bruno. The white garment here is no
less excellent than the drapery in the celebrated Vision of St.
Romualdus at Rome, but the head is still more vacant and dis-
agreeable.
Salvator Rosa.—Here are two of his great historical pic-
tures. 1. Democritus, in the deepest solitude, surrounded with
skeletons, statues, and other objects of nature and art, indulging
in philosophical meditations. Only a scanty light illumines in
some degree the general gloom. This picture is very character-
istic of the tendency of this master to the fantastic and grand,
which renders him so popular in England.
2. The companion picture. Diogenes throwing away the cup, on
seeing the boy drink out of the hollow of his hand ; this shows the
painter on his cynical, humorous side. He must have set a par-
ticular value on these pictures, for he etched them himself.