DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22424#0098
84 THE MARQUIS OF HERTFORD'S COLLECTION. Letter IE
superb specimens of the master. From the de Morny collection,
where I had already seen and admired it.
Lancret.—Eight figures of ladies and cavaliers, one of them
with a mask, in the open air, before a pedestal. On the right a
fountain with sculpture. Beautiful and powerful trees are in the
landscape. The figures, which are of an unusually large scale for
this painter, are warmly coloured, and finished with unusual in-
dustry. The whole picture is characterised by much air and light.
I had previously seen this fine work in the Standish collection.
The present possessor purchased it for 750^., the highest price, I
imagine, yet given for the master.
Pater.—A landscape, with a party of ladies and gentlemen
resting in the foreground under trees. One of the figures, dressed
in white silk, quite in front, is very remarkable, and strongly
relieved by another figure in black. On the right is the re-
cumbent figure of a Venus on a pedestal, at the base of which
are three children. On the same side, in the background, is a
distant view. In every respect—composition, power, clearness
of colouring, and finish—this is the finest picture I know by the
master.
Greuze.—1. A young girl kneeling in adoration before a
statue of Cupid with a garland. Various accessories at the foot
of the pedestal. A landscape background. Whole-length figure,
three-quarters size. This.picture in everyway merits the high
reputation it enjoyed in the collection of Cardinal Fesch. The
slender form, beautiful features, lovely expression, and warm
and clear tints of the girl, render this work attractive in no
common degree. The execution is also careful, and the preserva-
tion perfect.
2, 3, 4, and 5. These are specimens of Greuze's most frequent
subjects; half-length figures of young girls, all of great power,
transparency, r beauty, and finish. In one of them especially,
who is looking sorrowfully upward, the expression is admirably
given.
I was agreeably surprised, also, to find in this collection fine
specimens of the most approved masters of the modern French
school.
Horace Vernet.—1. One of those mounted shepherds, here
on a grey horse, who drive the oxen to Rome, is following a stray
superb specimens of the master. From the de Morny collection,
where I had already seen and admired it.
Lancret.—Eight figures of ladies and cavaliers, one of them
with a mask, in the open air, before a pedestal. On the right a
fountain with sculpture. Beautiful and powerful trees are in the
landscape. The figures, which are of an unusually large scale for
this painter, are warmly coloured, and finished with unusual in-
dustry. The whole picture is characterised by much air and light.
I had previously seen this fine work in the Standish collection.
The present possessor purchased it for 750^., the highest price, I
imagine, yet given for the master.
Pater.—A landscape, with a party of ladies and gentlemen
resting in the foreground under trees. One of the figures, dressed
in white silk, quite in front, is very remarkable, and strongly
relieved by another figure in black. On the right is the re-
cumbent figure of a Venus on a pedestal, at the base of which
are three children. On the same side, in the background, is a
distant view. In every respect—composition, power, clearness
of colouring, and finish—this is the finest picture I know by the
master.
Greuze.—1. A young girl kneeling in adoration before a
statue of Cupid with a garland. Various accessories at the foot
of the pedestal. A landscape background. Whole-length figure,
three-quarters size. This.picture in everyway merits the high
reputation it enjoyed in the collection of Cardinal Fesch. The
slender form, beautiful features, lovely expression, and warm
and clear tints of the girl, render this work attractive in no
common degree. The execution is also careful, and the preserva-
tion perfect.
2, 3, 4, and 5. These are specimens of Greuze's most frequent
subjects; half-length figures of young girls, all of great power,
transparency, r beauty, and finish. In one of them especially,
who is looking sorrowfully upward, the expression is admirably
given.
I was agreeably surprised, also, to find in this collection fine
specimens of the most approved masters of the modern French
school.
Horace Vernet.—1. One of those mounted shepherds, here
on a grey horse, who drive the oxen to Rome, is following a stray