DOI Page / Citation link:
https://doi.org/10.11588/diglit.22424#0469
Letter IX.
DUNMOEE PARK.
455
figures, life-size. Of simple and unpretending truth, and carefully
carried out in a light, clear tone.
drawing-room.
Hobbema.—A landscape with a water-mill on the right; on the
left a group of trees; behind, in the middle distance, a village in
sunshine. A clear and charming picture, of moderate size.
Titian (?).—The Adoration of the Shepherds. An attractive
picture, painted in a warm tone, with a fine landscape. Of the
school of Titian. For the master himself it is not clever
enough.
Van der Helst (?).—Portrait of a boy with hat and feathers.
Too highly hung for an opinion, but, as far as I could judge, not
by Van der Heist, but rather by Cuyp, 1.
Velasquez.—Seven peasants with festive garlands leading an
ox along. Of great humour, and most cleverly treated in a warm,
transparent tone.
Rubens.—Soldiers maltreating peasants. Highly dramatic.
A composition somewhat like that in the gallery at Munich.
Although hanging too high to permit of a decided opinion, yet it
looks so well that I am not inclined to dispute the name given.
Le Nain.—Four men playing at dice, and another figure. Of
his usual care and truth, but of more powerful colour.
Cuyp.—2. A boy holding a grey horse. A small picture of
the middle and best time of the master.
Caspar Poussin.—2. An upright landscape. It looks well,
but is too darkly hung.
Two boys, of charming conception and rare depth of colour,
appear to me to be by an Italian master, though I am not able to
give the name.
Sir Joshua Reynolds.—A boy grasping his sword with his
right hand. Very powerful.
Albert Durer (?).—An altarpiece with wings; the Nativity,
the Adoration of the Kings, and the Flight into Egypt. A very
good work by the rare Dutch master Walther van Assen. The
Nativity is now much sunk.
Lodovico Carracci.—The Visitation. Of elevated heads and
motives, but the insipid tone recalls the late works of Sebastian
del Piombo.
DUNMOEE PARK.
455
figures, life-size. Of simple and unpretending truth, and carefully
carried out in a light, clear tone.
drawing-room.
Hobbema.—A landscape with a water-mill on the right; on the
left a group of trees; behind, in the middle distance, a village in
sunshine. A clear and charming picture, of moderate size.
Titian (?).—The Adoration of the Shepherds. An attractive
picture, painted in a warm tone, with a fine landscape. Of the
school of Titian. For the master himself it is not clever
enough.
Van der Helst (?).—Portrait of a boy with hat and feathers.
Too highly hung for an opinion, but, as far as I could judge, not
by Van der Heist, but rather by Cuyp, 1.
Velasquez.—Seven peasants with festive garlands leading an
ox along. Of great humour, and most cleverly treated in a warm,
transparent tone.
Rubens.—Soldiers maltreating peasants. Highly dramatic.
A composition somewhat like that in the gallery at Munich.
Although hanging too high to permit of a decided opinion, yet it
looks so well that I am not inclined to dispute the name given.
Le Nain.—Four men playing at dice, and another figure. Of
his usual care and truth, but of more powerful colour.
Cuyp.—2. A boy holding a grey horse. A small picture of
the middle and best time of the master.
Caspar Poussin.—2. An upright landscape. It looks well,
but is too darkly hung.
Two boys, of charming conception and rare depth of colour,
appear to me to be by an Italian master, though I am not able to
give the name.
Sir Joshua Reynolds.—A boy grasping his sword with his
right hand. Very powerful.
Albert Durer (?).—An altarpiece with wings; the Nativity,
the Adoration of the Kings, and the Flight into Egypt. A very
good work by the rare Dutch master Walther van Assen. The
Nativity is now much sunk.
Lodovico Carracci.—The Visitation. Of elevated heads and
motives, but the insipid tone recalls the late works of Sebastian
del Piombo.