File:The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists (1905) (14579551470).jpg

Identifier: artoflouvreconta00pott (find matches)
Title: The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists
Year: 1905 (1900s)
Authors: Potter, Mary Knight, d. 1915
Subjects: Musée du Louvre Painting
Publisher: Boston, L.C. Page & company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
XV.Peter Breughel was very unlike his son both in his man-ner of working and in the subjects he chose to portray.Though he studied in Italy, he was never Italianized,and as a Flemish painter he stands quite apart as trulyas Jan Steen does among the Dutch. Not so great ahumourist, he was a true observer, a wise thinker, abrilliant raconteur, a keen satirist. If at times in his tran-scriptions of peasant life he was both rude and evenvulgar, he redeems those faults by a spirit, a life, vigourof thought and an intense reality. The Reunion of the Mendicants has been called byMantz a veritable chef-doeuvre. It shows a party offive cripples in a garden marching painfully along ontheir crutches. They are dressed in ridiculous costumesornamented with foxtails and with hats in the form ofmitres. At the back is a wall of bricks. These cripplesare vividly portrayed, not a disagreeable spared, and yetthe picture is amusing rather than repulsive. The Parable of the Blind is one of his more serious
Text Appearing After Image:
THE BANKER AND HIS WIFEBy Matsys Sailes £•((£♦ to fff©f* w and stronger works. For it is not alone with mirth thatthis painter dwells. Alexandres description of it is sostriking that it is worth giving entire. After statingthat it is a repetition in oil of one in tempera at the Naplesmuseum, he goes on: The amplitude of the design, andof the movement of that line of blind men, who, holdingeach by the other, seem about to fall into the ditch yawn-ing at the feet of the first one of the queue, the extraor-dinary conception of those heads with the non-seeingeyes, so real and so dreadful; the beauty of the harmo-nious colouring with its greens, grays, browns and reds;the magnificent landscape, so powerful, so immense, sofull of unexpected detail; this it is that makes onerealize how great he was as man and painter. In Salle XXXV. Snyders has a picture far removedfrom the tremendous battles and conflicts he so oftenpainted. Even in this, however, which is named Dogsin a Larder, the

Note About Images