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What Pictures to See in America by the Same Author

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NYPL RESEARCH LIBRARIES 3 3433 08191154 WHAT PICTURES "^ TO SEE AMERICA iiik 96 WHAT PICTURES TO SEE atmosphere have gripped truths that will live. There is a reminiscence of Rembrandt in his mellow light and his manner of using it. Sargent's "William M. Chase" dominates room 20, and well it may, for it is a splendid portrait of one of the great leaders in the American school of art. The portrait was a gift by the pupils of Mr. Chase. The *'Harp of the Winds" (Eig. 48), by Homer D. Martin (1836-1897), is one of the pictures sent to Germany several years ago to represent American art. A happy choice it certainly was. The delicate color and filmy at- mosphere harmonize like delicious music. It is well named the *'Harp of the Winds," for the breeze stealing through the slender poplars must be whispering a sweet melody to the bow- ing trunks and waving branches, and they in turn are repeating the strain to the placid water where they are mirrored. This picture is a symphony, a poem and a color harmony. Homer Martin, except for a few weeks' study with William Hart, was a self-taught artist. The portrait of Augustus Saint Gaudens (the American sculptor, 1848- 1907), by Ken- yon Cox, has had quite a history. The orig- inal picture, painted in 1887, was burned in Saint Gaudens' studio at Windsor, Vt., in 1904. Mr. Cox painted this replica in 1908, a NEW YORK CITY 97 year after the sculptor's death, from the studio studies he still had. The figure in the bas-re- lief, that Saint Gaudens is represented as work- ing on, is William M. Chase, his friend and companion. They were about the same age. One of the best beloved pictures in the Mu- seum is "Joan of Arc" (Fig. 49), by Bastien- Lepage (1848-1884). The school children never tire of the peasant girl who saw visions and dreamed dreams. Bastien-Lepage paints Joan with wide-open eyes seeing a spiritual vision and hearing celestial voices. The shadowy figure in the background dressed in armor foretells how she is to fulfill her mis- sion to her beloved France. Her story is so familiar that only a few words are necessary to bring it clearly to mind. Joan was only thir- teen when she repeatedly heard a voice say, "Joan, fail not to seek the church." For three years these voices came and finally urged her to immediate action. "For," they said, "you must help the king and save France." The state of France in 1428 was terrible. Eng- land was besieging the country; the insane king Charles VI died in 1422, and left the kingdom to Henry V of England. The right- ful heir, Dauphin Charles, was weak and in- dolent, with no army, no money and no energy. Joan's visions and voices had been treated with WHAT PICTURES TO SEE IN AMERICA BY THE SAME AUTHOR PICTURES AND THEIR PAINTERS A POPULAR HISTORY OF PAINTING With 300 Illustrations 8vo. $2. so net WHAT PICTURES TO SEE IN EUROPE IN ONE SUMMER Illustrated, ismo. $1.35 net WHAT SCULPTURE TO SEE IN EUROPE Illustrated. Z2mo, $1.35 net FAMOUS PICTURES OF REAL BOYS AND GIRLS Over so Illustrations izmo. $i.2S "«' Hark, the Lark! Winslow Homer. Milwaukee, Layton Art Gallery. [See page 277.] WHAT PICTURES TO SEE IN AMERICA BY LORINDA MUNSON BRYANT AUTHOR OF "Pictures and Their Painters," "What Pictures to Sec in Europe in One Summer," "What Sculpture to Sec in Europe," etc. WITH OVER 200 ILLUSTRATIONS NEW YORK JOHN LANE COMPANY MCMXV THE NEW YOKX I TO MY CLASSMATES OF GRANVILLE FEMALE COLLEGE INTRODUCTION SEE America first! was never a wiser watch- word than it is now, particularly as re- gards its treasures of art. To-day it is pos- sible to find in the museums of our various cities paintings that form a consecutive history from Giotto through Era Angelico, Botticelli, Raphael, Titian, Rubens, Rembrandt and Ve- lasquez to the modern masters of European and American art. That the general tourist may see and com- prehend the value of the vast number of paint- ings collected in our museums from the At- lantic to the Pacific, a careful selection must be made of special examples to be seen first. It is my purpose to act as a guide; pointing out to the hurried sightseer a few of the master- pieces in each gallery that these may serve as incentives to a further study of the pictures as time and inclination permit. To "guide" through a museum does not mean to exhaust all its treasures ; consequently let me insist that the two hundred and more INTRODUCTION examples mentioned in this volume are simply so many sign posts to assist those who wish to see intelligently without having had pre- vious preparation. It has been no easy task to collect data and photographs from the length and breadth of this great country ; in fact, it would have been impossible except for the kindly co-operation of the museum authorities of the various cities in suggesting their best pictures and sending photographs for reproduction. I wish that I might mention by name all who have aided in the work and thus thank them publicly for their assistance. As this is not feasible, the chapters devoted to the various collections will bespeak my appreciation of their wisdom. The courtesy of the Detroit Publishing Com- pany has been invaluable in solving the vexed copyright question and making possible many illustrations which otherwise could not have been used. I have unwillingly omitted collections in sev- eral cities because repeated efforts have failed to gain the hoped for co-operation of those in charge of the galleries. LORINDA MUNSON BrYANT. New York City, June, 1915. CONTENTS CHAPTER PAGE I. Boston, Museum of Fine Arts . 23 II. Boston, Museum of Fine Arts (Continued) 41 III. New Haven, Yale School of The Fine Arts, The Jarves Collec- tion 58 IV. New York City, Metropolitan Museum of Art 67 V. New York City, Metropolitan Museum of Art (Continued) . 79 VI. New York City, Metropolitan Museum of Art (Continued) 90 VII. New York City, Metropolitan Museum of Art (Continued) . 106 VIII. New York City, Metropolitan Museum of Art (Continued) . 120 IX. Brooklyn, Institute of Arts and Sciences 134 X. Brooklyn, Institute of Arts and Sciences (Continued) .... 145 XI. Philadelphia, The Pennsylvania Academy of the Fine Arts . 154 XII. Philadelphia, W. P. Wilstach Col- lection 164 XIII. Baltimore, Walters Gallery . 176 CONTENTS CHAPTER PAGE XIV. Washington, D. C. The Corcoran Gallery of Fine Art . 179 XV. Pittsburgh, Carnegie Institute . 191 XVI. Syracuse, Museum of Fine Arts . 202 XVII. Rochester, The Memorial Art Gallery 208 XVIII. Buffalo, Fine Arts Academy, Al- bright Art Gallery . 215 XIX. Toledo, The Toledo Museum of Art 222 XX. Detroit, Museum of Art . 228 XXI. Muskegon, The Hackley Public Library, Gallery OF Arts . 239 XXII. Chicago, The Art Institute . 247 XXIII. Chicago, The Art Institute (Con- tinued) 260 XXIV. Milwaukee, Layton Art Gallery 270 XXV. Minneapolis, Institute of Arts . 280 XXVI. Indianapolis, John Herron Art Institute 288 XXVII. Cincinnati Museum 297 XXVIII. New Orleans, Isaac Delgado Mu- seum OF Art 310 XXIX. Fort Worth, Texas, Carnegie Pub- lic Library 3^6 XXX. St. Louis, City Art Museum . 322 XXXI. Sacramento, E. B. Crocker Art Gallery 33° XXXII. San Francisco, Institute of Art 339 ILLUSTRATIONS Hark, the LarkI Winslow Homer. Milwaukee, Layton Art Gallery (Frontispiece) FIG. PAGE I. —Early Portrait of Philip IV. Velasquez, Boston, Museum of Fine Arts 26 2.—Don Baltazar Carles and his Dwarf. Velasquez. Boston, Museum of Fine Arts 26 3.—Old Man. Rembrandt. Boston, Museum of Fine Arts ... 27 4.—Dutch Interior. Pieter de Hooch. Boston, Museum of Fine Arts 27 Boston, of Fine Arts S. —Jealous Husband. Nicolaes Maes. Museum 32 6.—The Usurer. Gabriel Metsu. Boston, Museum of Fine Arts . 33 7. —Charles I. and Henrietta Maria. Van Dyck. Boston, Museum of Pine Arts 33 8. —Portrait of Washington. Gilbert Stuart. Boston, Museum of Fine Arts 38 9.—Slave Ship. Turner. Boston, Museum of Fine Arts .... 38 10. —The Harvesters Resting. Millet. Boston, Museum of Fine Arts 42 II.—Dante and Virgil. Corot. Boston, Museum of Fine Arts . 43 12. —Blacksmith of Lyme Regis. Whistler. Boston, Museum of Fine Arts 47 13.—The Halt of the Three Wise Men. La Farge. Boston, Museum of Fine Arts SO 14.—The Sphinx. Elihu Vedder. Boston, Museum of Fine Arts . so IS.—The Misses Boit. John Sargent. Boston, Museum of Fine Arts . si 16.—Fog Warning. Winslow Homer. Boston, Museum of Fine Arts . 51 17.—Isabella and the Pot of Basil. Alexander. Boston, Musetim of Fine Arts 54 18.—Madonna and Child. Fra Angelico. Boston, Museum of Fine Arts SS 19.—Saint Anthony Tempted by the Devil. Sassetta. New Haven, Yale School of the Fine Arts. Jarves Collection .... 60 20.—Coronation of the Virgin. Sano di Pietro. New Haven, Yale School of the Fine Arts. Jarves Collection 61 21.—Madonna and Child. Gentile da Fabriano. New Haven, Yale School of the Fine Arts. Jarves Collection 61 22.—Hercules Killing Nessus. Antonio Pallaiuolo. New Haven, Yale School of the Fine Arts. Jarves Collection .... 66 23.—Adoration of the Magi. Luca Signorelli. New Haven, Yale School of the Fine Arts. Jarves Collection 66 24.—James Stuart, Duke of Richmond. Van Dyck. Metropolitan Museum of Art. New York City 67 25.—^Young Woman with a Water Jar. Vermeer. Metropolitan Museum of Art. New York City 70 26.—Madonna and Child. Bellini. Metropolitan Museum of Art.
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  • Charles Borromeo from Archbishop of Milan to Saint of the Monarchy

    Charles Borromeo from Archbishop of Milan to Saint of the Monarchy

    CON SER SANTO PUSO A RIESGO DE DESCOMPONERSE MUCHO ESTA CIUDAD Y ESTADO: CARLO BORROMEO Da arCIVESCovo DI MIlaNO A saNto DElla moNarCHIA Con ser Santo puso a riesgo de descomponerse mucho esta ciudad y estado: Charles Borromeo from archbishop of Milan to saint of the Monarchy MASSIMO carlo giannini* Recibido: 04-04-2017 Aprobado: 24-10-2017 RESUMEN Entre los muchos santos de la Contrarreforma Carlos Borromeo es uno de los casos más citados. En este artículo se pretende desmenuzar los elementos de su santidad, de acuerdo con la imagen de obispo santo contrarreformista que ofrece buena parte de la historiografía, analizando el proceso mediante el cual se construye dicha imagen. Diversos especialistas se han interesado en los mecanismos de una canonización que se realizó con relativa rapidez: el cardenal y arzobispo de Milán falleció el 3 de noviembre de 1584, y fue elevado a la gloria de los altares en julio de 1610. Sin embargo, aún falta un cuadro capaz de recomponer en conjunto las numerosas y dispersas teselas que la hagiografía, en primer lugar, y la historiografía, en segundo lugar, han recogido. El mosaico creado en este estudio muestra cómo hay numerosos elementos disonantes con respecto a la tradición hagiográfica, y a la historiografía, que más recientemente se ha ocupado de la santidad borromaica en su parte puramente censitaria e inquisitorial. De este nuevo análisis de su proceso de canonización se desprende en especial una estratificación de los distintos problemas y tensiones que se sucedieron en el camino, tanto en los círculos eclesiásticos como en los laicos.