File:The Vienna galleries - giving a brief history of the public and private galleries of Vienna; with a critical description of the paintings therein contained (1912) (14781235434).jpg

Identifier: viennagalleriesg00prey (find matches)
Title: The Vienna galleries : giving a brief history of the public and private galleries of Vienna ; with a critical description of the paintings therein contained
Year: 1912 (1910s)
Authors: Preyer, David C. (David Charles), 1861-1913
Subjects: Painting
Publisher: Boston : St. Botolph Soc.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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in an arm-chair. Van Dycks St. Jerome, found here, hasvariants in Dresden, Stockholm, and Madrid. Itis not a pleasing composition, although the mas-ters touch is manifest. A Madonna is an oldcopy after an original by van Dyck, now in Dul-wich House, in England. Another copy, hangingnear, is one of those which Rubens made while inItaly. It is after the Burial of Christ, by Car-avaggio, which is now in the Vatican. A large Lamentation of Christ, bearing van Dycksname, is not by his own hand, but manifestly astudio work by his pupils. But the painting which imperiously arrests theattention of the spectator, and which proves thegreater master, is the magnificent full-length Por-trait of Willem van Huythuysen, patrician ofHaarlem, by Frans Hals (Plate XXXIII). Thisproud and lifelike figure stands before us in anembroidered black silk costume. His broad-brimmed hat sets well back from the forehead,leaving the strong features clear and unshaded.His left hand rests on his hip, his right, over
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FRANSHALS PORTRAIT OF WILLEM VAN HUYTHUYSEN LiechtensteinPlate xxxiii Collection Ube Xlecbtenstein Collection 225 which his cloak is thrown, rests on a long sword.The background is a rich red curtain, and in thedistance we have a glimpse of the park adjoiningthe noble mansion. Roses lie scattered on thefloor. The face expresses manly vigour and digni-fied self-consciousness. The whole effect of thiswonderful composition with its rich but delicatecolouring, light-grey in tone, is thoroughly artistic.There are so many fine points about this portraitthat it is hard to leave it. Its tremendous spiritof vivacity, its ease, dash, fluency, bravura, itswonderful freedom and looseness of touch, makeit one of the artists greatest masterpieces. Thereis no portrait painter who has surpassed FransHals, and only one who has equalled him — Velas-quez; these two, so different in technique, so alikein masterful dominion over the brush. The Sixth Salon contains a number of importantcanvases, from amo

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