Flemish Paintings Loaned by the Belgian^ Government to the National Gallery of Art the National Gallery of Art Announces That Te

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Flemish Paintings Loaned by the Belgian^ Government to the National Gallery of Art the National Gallery of Art Announces That Te

NATIONAL GALLERY OF ART rOR RELEASE WASHINGTON, D. C. SUNDAY, FEBRUARY 7, 1943 Flemish Paintings Loaned by the Belgian^ Government to the National Gallery of Art The National Gallery of Art announces that ten masterpieces of Flemish painting sent to this country by the Belgian Govern ment for the Worcester-Philadelphia Exhibition in 1939 will be placed on exhibition on Sunday after noon, February ?th, for an indefinite period. These paintings will be shown with a selec tion from the collection of the National Gallery in galleries 39 and 42 on the Main Floor. All but one of the pictures to be shown belong to the Royal Huseun of Brussels, and thus fortunately represent an important part of this great collection which has been saved from the disasters of the present war. The earliest painting in the group is a representation of the Virgin and Saint Anne-- a youthful work by Hugo Van der Goes, one of the principal masters of the Fifteenth Century Flemish School, who was destined through the famous Portinari Altarpiece now in the Uffizi Gallery in Florence to exert a profound influence on Italian art. Equally important is the Martyrdom of Saint Sebastian by Hans lleialing, probably painted for the Guild of- Archers in Bruges, where until the war many of his greatest portraits were to be found. In other pictures loaned by the Belgian Government the story of Flemish art can be traced from the fifteenth century through - 2 - the less familiar artists of the sixteenth century to its climax a hundred years later in the work of Rubens. These ten paintings, which have so fortunately found shelter in-the United States, are eloquent witnesses to that great surge of creative genius which for three centuries riade Flanders a center of European art..

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Reciprocal Desire in the Seventeenth Century
CHAPTER 8 The Painting Looks Back: Reciprocal Desire in the Seventeenth Century Thijs Weststeijn The ancients attributed the invention of painting to an act of love: Butades’s daughter tracing her lover’s shadow on a wall, according to Pliny.1 Likewise, the greatest works were deemed to spring from the artist’s infatuation with his model, from Apelles and Campaspe to Raphael and his Fornarina.2 Ever since Ovid’s Ars amatoria, the art of love had been seen as a discipline more refined than the art of painting, which the Romans did not discuss with similar sophistication. By the late sixteenth century, however, courtiers’ literature had become a conduit between poetic and artistic endeavours, ensuring that the nuanced vocabulary of amorous talk affected the theory of painting.3 In Italian and Dutch sources, both the making and the appreciation of art were described in terms of the lover’s interest in a woman: Dame Pictura. She was a vrijster met vele vrijers: a lady with a host of swains, in the words of the artists’ biographer Cornelis de Bie.4 True artists came to their trade by falling helplessly in love The research resulting in this article was sponsored by The Netherlands Organisation for Scientific Research. 1 Bie Cornelis de, Het gulden cabinet van de edel vry schilderconst (Antwerp, Meyssens van Monfort: 1661) 23. 2 Hoogstraten Samuel van, Inleyding tot de hooge schoole der schilderkonst (Rotterdam, Van Hoogstraten: 1678) 291: ‘Urbijn, toen hy verlieft was; Venus deede hem Venus op het schoonst ten toon brengen […] Het geen onmooglijk schijnt kan de liefde uitvoeren, want de geesten zijn wakkerst in verliefde zinnen’.
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