DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22423#0252
240
LIVERPOOL. ROYAL INSTITUTION. Letter XXVII.
pictures, which are executed in the master's offhand style, show,
more than usual, the influence of Paul Veronese.
107. Luca Giordano.—Dionysius, the tyrant of Syracuse, as
a schoolmaster. Boldly executed in his brick-red tones.
108. So lime ne.—The Virgin and Child surrounded by angels.
An excellent picture for him.
109. A landscape, with a Riposo, by Luigi Garzi. The fore-
ground unusually green, and the background unusually blue for
him. Here given to Salvator Rosa.
110. The entrance to the Arsenal at Venice, with the lions.
A good picture by Bernardo Bellotto, and not by Canaletto,
as here stated.
111. Castiglione.—A grey horse, and a shepherd with his
flock. One of his feeble works.
112. Romanelli.—The Flight of Clelia and her Companion.
The motives animated ; the heads and forms pleasing.
113. An unknown subject by some feeble painter of the six-
teenth century. Ascribed to Pietro della Vecchia.
114. Giovachino Asserato.—Christ disputing in the Temple.
In this Genoese master I recognise a rude imitator of Bernardo
Strozzi.
115. Juan Simon Guttiereez.—St. Francis in ecstasy. This
scholar of Murillo, hitherto unknown to me, recalls his master in
realistic conception and warmth of colour. The picture is care-
fully executed.
116. School of Velasquez.—A Spanish general, in full uniform.
True in conception, powerful in colour, and careful in treatment.
117. Nicolas Poussin.—A poetic landscape, with Arcadian
shepherds. A genuine and attractive work of his later time.
118. Sebastian Bourdon.'—A bacchanalian scene. An ex-
cellent picture, treated quite in the taste of his master, Nicolas
Poussin.
Flanders and Holland.
119. Rubens.—The Crucifixion. A copy.
121. Arnold de Gelder.—Head of a rabbi. This appears
to me rather a good picture by Solomon de Koningk.
122. Ferdinand Bol.—The Angel appearing to Hagar in the
Desert. A very warm and careful picture by him.
123. Frederic Moucheron.—A landscape. Careful; but of
those works of the painter which are insipid in tone.
LIVERPOOL. ROYAL INSTITUTION. Letter XXVII.
pictures, which are executed in the master's offhand style, show,
more than usual, the influence of Paul Veronese.
107. Luca Giordano.—Dionysius, the tyrant of Syracuse, as
a schoolmaster. Boldly executed in his brick-red tones.
108. So lime ne.—The Virgin and Child surrounded by angels.
An excellent picture for him.
109. A landscape, with a Riposo, by Luigi Garzi. The fore-
ground unusually green, and the background unusually blue for
him. Here given to Salvator Rosa.
110. The entrance to the Arsenal at Venice, with the lions.
A good picture by Bernardo Bellotto, and not by Canaletto,
as here stated.
111. Castiglione.—A grey horse, and a shepherd with his
flock. One of his feeble works.
112. Romanelli.—The Flight of Clelia and her Companion.
The motives animated ; the heads and forms pleasing.
113. An unknown subject by some feeble painter of the six-
teenth century. Ascribed to Pietro della Vecchia.
114. Giovachino Asserato.—Christ disputing in the Temple.
In this Genoese master I recognise a rude imitator of Bernardo
Strozzi.
115. Juan Simon Guttiereez.—St. Francis in ecstasy. This
scholar of Murillo, hitherto unknown to me, recalls his master in
realistic conception and warmth of colour. The picture is care-
fully executed.
116. School of Velasquez.—A Spanish general, in full uniform.
True in conception, powerful in colour, and careful in treatment.
117. Nicolas Poussin.—A poetic landscape, with Arcadian
shepherds. A genuine and attractive work of his later time.
118. Sebastian Bourdon.'—A bacchanalian scene. An ex-
cellent picture, treated quite in the taste of his master, Nicolas
Poussin.
Flanders and Holland.
119. Rubens.—The Crucifixion. A copy.
121. Arnold de Gelder.—Head of a rabbi. This appears
to me rather a good picture by Solomon de Koningk.
122. Ferdinand Bol.—The Angel appearing to Hagar in the
Desert. A very warm and careful picture by him.
123. Frederic Moucheron.—A landscape. Careful; but of
those works of the painter which are insipid in tone.