Bulletin of the

Rhode Island School of Design

Issued Quarterly

Vol. VI OCTOBER, 1918 No. 4

KUAN-YIN AND AJR.HAT Chinese, Sung Dynasty

Museum Fund 1918 VI, 30 Bulletin of the Rhode Island School of Design

Entered as second-class matter January at the 16, 1913, disciples of Buddha. They are post office at Providence, Rhode Island, under the Act known of August 24, 1912. among the Chinese as Lohan and by the Copyright, 1918, by Rhode Island School of Design. All rights reserved. Japanese as Rakan. The general composition of this phia- KUAN-YIN AND ARHAT fu, or kakemono, as the Japanese call it, may be compared with those of a paint- HE Museum has lately made some ing in the possession of Charles L. Freer very interesting purchases, includ- of Detroit, showing Kuan-yin and Arhats. T ing a group of representative Chi- This is illustrated in Painting in the Far nese paintings. These give evidence of East, by Lawrence Binyon, PI. II. the appeal of Oriental art to those who It is characteristic of the Oriental in his appreciate line, design, and color; and interpretation of landscape that he is not show the Chinese feeling in landscape, satisfied with the natural features alone, genre, and religious subjects. The paint- but studies them in relation to mankind ing illustrated belongs to the last-named and his problems, while in his religious division (Fo Hsiang) and represents pictures he uses the symbolism and legend Kuan-yin worshipped by an Arhat. It afforded by the subject to convey im- was painted early in the Sung Dynasty portant principles of living. The Occi-

(960-1260 a. d.) in a style which has been dental frequently sees only the color, widely accepted as one of those used by line, and mass; and considers the painting Wu Tao-Tzu, the great creative genius from a pictorial or decorative point of of the T’ang Dynasty (618-905 a.d.). view. All of this is admissible but only This artist was born in Honan province partially does justice to the work of art near the end of the eighth century. Chi- in question, for the Oriental accepts all nese paintings, made as they are on silk of this as evidence of technical skill, and or paper, do not survive the centuries as goes far beyond this limited point of view. well as do European paintings on canvas As Kakasu Okakura has said, “Not to or wood, although the Chinese connois- display, but to suggest, is the secret of seurs have preserved as many as possible. infinity.” The result is that no examples of Wu Tao-Tzu’s work are known to be extant. His genius was so pronounced however “THE FLIGHT INTO EGYPT” that details about his work are preserved By Francesco Collantes which perhaps give some conception of his style. His work was much copied, T is a matter of interest that many especially in the Sung period, and may I students of Spanish painting concern have influenced the painter of the example themselves chiefly with the great owned by the Museum. leaders, who, though few in number, have The subject was one of great appeal to so ably expressed the national spirit, and the Chinese. Kuan-yin was one of Bud- who, in many ways, belong with the dha’s attendants. In Indian art he ap- greatest painters of Europe. This is per- pears as Avalokitesvara, and in Japanese haps just, since their influence was so art as Kwannon. Oriental painting does marked, their technique so fine, and their not place emphasis on sex, so in the Sung art so superb. But in recent years atten- Dynasty and before, Kuan-yin appears tion is being gradually directed to the as male, while in modern belief Kuan-yin lesser known artists, the early Primitive is known as the “Goddess of Mercy”; masters, especially of the Catalan school, but its early significance was “the Lord and a number of later ones who are who looks down upon, or hears the cries grouped under the schools of Madrid and of the world.” The Arhats were the early Seville. In a land so strongly religious it Century I

XVI

Spanish,

Collantes,

Francesco

by 1918

Metcalf,

B.

Manton

Mr.

of

Gift

EGYPT

INTO

FLIGHT

THE VI, 32 Bulletin of the Rhode Island School of Design

is inevitable that religion should not only ruined buildings. The painting is signed. supply subject-matter to the painter, but It is of interest to note the difference also determine for him, in a sense, the in point of view, for, like all the other methods he should use. One painter of creators of landscape painting of the the school of Madrid is of special interest period, Collantes recognized its possibil- because of his skill in landscape, and the ities of sympathetic setting for human Museum is deeply gratified to own a experiences. In the course of years this superb example by this master, Fran- use of landscape has been given up, and cesco Collantes. The painting was re- our modern painters express their inter- cently given by Mr. Manton B. Metcalf, pretation of its phases, for the landscape and is entitled “The Flight into Egypt.” alone. Where the human figure is intro-

In these days of search for new expres- duced it is usually for scale only or sec- sion and originality when many voices ondary to the landscape. This may be decry the old, and do not consider the one reason why landscape studies of the work of the past as having any message older schools have so great an appeal, for today, it is refreshing to see such a especially in such dramatic treatment of sincere, masterly interpretation hung in landscape as in the painting under dis- an adjoining gallery to a number of cussion. modern landscapes, and to note how far The life of the artist presents certain behind some of the later canvases are in facts which are of importance. He was forceful expression, in richness of color, born in Madrid in 1599 and died in the and in subtle treatment. same city in 1656. His teacher was Vin- It is characteristic of Spanish art to be cenzo Carducho (1568-after 1638), an direct and strong. To be sure it is rela- Italian who came to Spain in 1585 and tively easy to trace foreign influences became court-painter to Philip III and which constantly tend to determine the Philip IV. Like many of his contempo- artist’s results, but the Spanish char- raries Collantes felt the influence of Ital- acter accepts all that and insists on an ian methods and traditions, but developed individual and national expression. his own style. Although his existing The subject, “The Flight into Egypt,” paintings are relatively few in number is one that was frequently represented by it is known that he was decidedly versa- artists of all schools. For purposes of tile, painting animals, landscapes, still- comparison, there is the same subject life, and historical and figure subjects. treated by Fra Angelico in , and Throughout his work, now known, there another by Joachim Patenier, formerly is uniform boldness of handling and rich- in Antwerp. In both of these as in others ness of color. One naturally thinks of the which might be mentioned, the human Venetian and Bolognese masters of land- element is by far the greater, the figures scape, especially of Jacopo de Ponte, being rendered quite large, and the land- (1510-1592), from Bassano, with whom scape serving purely as a background. Collantes in his interpretation of land- In the Collantes painting the figures, scape shows unconscious similarity. The while still in the foreground, are rela- comparison with the best of these schools, tively small in scale, and the dominant with perhaps the possible exception of note is the giant tree and the broken Titian, is entirely favorable to Collantes. trunk behind the figure of the angel. The The personality of this artist whose glimpses over broken country on either work is so finely represented in our Mu- side introduce all the romantic elements seum, may become better known to us in which landscape artists of the period when the Spanish archives are searched delighted, including rushing water, masses as diligently as have been the Italian ones. of foliage in deep shadow, and semi- L. E. R. Bulletin of the Rhode Island School of Design VI, 33

A ROMAN LETTER terial and treatment; also the method of installation to be employed. Such matters UT of a legacy that was left me I are archaeological and have their value, have just bought a statue of Cor- but perhaps the greatest interest in this O inthian bronze. It is small, but letter lies in four points, the connoisseur- thoroughly clever and done to the life — ship of Pliny, the spirit in which the gift at least, in my judgment, which, in mat- was to be made, the place where it was ters of this sort, and perhaps of every to be shown, and the conditions imposed sort, is not worth much. However, I regarding its pedestal. Pliny felt their really do see the merits of this statue. It importance otherwise he would not have is a nude figure, and its faults, if it has mentioned them, and his letter presents any, are as clearly observable as its a striking picture of his position as a beauties. It represents an old man stand- collector. In the first place Pliny realizes ing up. The bones, the muscles, the veins, the wisdom of acquiring the work of art, and the very wrinkles, all look life-like. that it is one in which the public would The hair is thin, the forehead broad, the be interested, and that, although he had face shrunken, the throat lank, the arms purchased the figure outright, the proper hang down feebly, the chest is fallen in, place for it was in a building where the and the belly sunk. Looked at from be- general public could enjoy it, and it hind, the figure is just as expressive of could at the same time be dedicated to old age. The bronze, to judge from its the god. Let us also note his emphasis color, has the marks of great antiquity. on the gift being worthy of the place

In short, it is in all respects a work which chosen; and that it was given, not lent. would strike the eye of a connoisseur, and What a silent commentary this is on which cannot fail to charm an ordinary gifts of works of art! Pliny was not observer. This induced me, novice as I unique in following this procedure, for am in such matters, to buy it. However, the treasury lists of Egyptian and Greek

I bought it not to put in my own house temples, and of Christian churches prove

(for I never had there a Corinthian the contrary. Throughout the centuries bronze), but with the intention of placing there have been persons who realized how it in some conspicuous situation in the to place the work of art they own where place of my birth, perhaps in the Temple it could do the greatest good, agreeing of Jupiter, which has the best claim to that this place should be where the public it. It is a gift well worthy of a temple might have access to it, and where it and of a god. Do you, with that kind might be cared for indefinitely, if its in- attention which you always give to my herent quality warranted this procedure. requests, undertake this matter, and Museum experience of the present day order a pedestal to be made for it out of finds much to commend in the attitude any marble you please, and let my name, of Pliny. It is by such generous gifts of and, if you think fit, my various titles, works of art or money that we have made be engraven upon it. I will send you the such remarkable progress in this country. statue by the first person who will not Our collectors are coming to realize that object to the trouble; or, what I am sure it is an honor to give some worthy object you will like better, I will bring it myself, or collection. Like Pliny of old they ask for I intend, if I can get away from busi- for the label with the donor’s name and ness, to take a run into your parts.” some would even insist on much less in- This letter of 1800 years ago, written teresting details. The museums are glad by Pliny the younger to Annius Severus to meet the conditions of the label, but (Bk. Ill, VI), is rich in matters that are rightly hesitate in the case of binding of interest. On the one hand there is the agreements. Those who anticipate mak- description of the work of art, its ma- ing gifts large or small should do well to VI, 34 Bulletin of the Rhode Island School of Design

note Pliny’s largeness of spirit. If these public benefactors would realize that the museums are interested in bringing as m-uch emphasis on the object or the col- lections as is commensurate with the actual art value they would see that they might safely trust the museums with the care of their works of art without con- dition. Justice to the object concerned, to the donor, and to the museum, follows similar lines to those presented in this letter of so long ago.

A PAINTING BY SPINELLO ARETINO

distinguishing feature of the

Italian Renaissance is the great A body' of artists remarkable for creative genius, technical power and high quality. The superior art expression of the leaders so overshadows their con- temporaries that the true comparative value of the lesser men is not always recognized. Not all of these appeal to the student of art today, but each in his own way voices the yearning for art ex- pression of the Renaissance. An excellent opportunity to realize this is afforded by an unusual painting by Spinello Aretino, which was given to the Museum in 1917 by Mr. Jesse H. Metcalf.

Like so many paintings of the trecento, it is executed in gesso on a wooden panel.

It is of large size, measuring 87 inches high by 36 inches wide, and as can be seen from the illustration, is still in the original wooden box in which it hung so many years. The subject is Saint Anthony the Ab- bot, who is represented as seated; with St. ANTHONY, ABBOT by Spinello Aretino his staff in his right hand and book in Gift of Mr. Jesse H. Metcalf, 1917 left. At his feet on either side of the platform kneel the donor of the picture a red robe with blue cloak. Saint An- and his wife. Behind St. Anthony is a thony is dressed in gray-green with outer curtain background of figured brocade garment of grayish-white. while the angels represented under the The identity of the donor and wife is curve of the arch gaze inward towards unknown, although a clue is doubtless the figure of the saint. In the trefoil afforded by a partly effaced coat of arms opening above is the half figure of Christ on a shield painted near the knees of the with hand raised in benediction. He wears donor. Bulletin of the Rhode Island School of Design VI, 35

Saint Anthony was born at Alexandria, Gaddi School, according to Vasari. He Egypt, about 250 a.d. In his youth he worked in , Florence, and possessed great riches and preferment. Siena, staying mostly in Arezzo, where he He was early converted to Christianity, died in 1410. Our painting shows the parted his share of worldly goods among characteristic stylistic features of his work the poor, and became a hermit in the including the low forehead and straight desert where he was noted for his piety nose, the broad type of head, the some- and purity. His trial by Satan is a well- what formal and labored arrangement of known legend. According to the story he the drapery in the manner of the earlier lived to the age of one hundred and four masters, and the subdued color scheme, years. In our painting, he is represented including grey and dark-green. The low in monk’s garb to signify his founding of seat without a back, seen from a some-

Monachism. His staff shows his great what elevated position is, as has been age, and the black pig painted at the pointed out, a trait of Orcagna’s work foot of the panel, to the right of the in- (see Bulletin of Metropolitan Museum of scription, is symbolical of the worldly Art, vol. 9, 1914, p. 46) and one which, to lusts of which he was in supreme control. judge from other examples of Aretino’s Venturi in his Storia dell' Arte Italiana work, appealed to him. The severity of

(vol. 5, part 2, p. 864) says that Spinello drawing is peculiarly fitting to the subject

Aretino represents the last in of our panel, and coupled with it is a to sum up the two currents of painting peculiar intensity of feeling and forceful emanating from and Duccio di spirit which expresses the traits of the Boninsegna. Not that he could be fa- subject and the artist alike. While not vorably compared with either of these to be compared with the greatest of greater masters who preceded him, but Aretino’s work, the recent acquisition is his style shows traces of both the schools an Italian primitive which merits con- of Florence and Siena. Spinello was born sideration by all who appreciate the pe- in Arezzo about 1333 and learned much culiar fascination of the great wave of from Andrea Orcagna. He was also a the Renaissance, and the excellent paint- pupil of Jacopo del Casentino of the ing that was produced. l. e. r.

STUDY OF GEESE by Frank W. Benson Museum Fund 1918 — ——

VI, 36 Bulletin of the Rhode Island School of Design

NOTES Britten, F. J.— Old clocks and watches Lecture by Douglas C. McMur- and their makers. 1911. trie. — The first public lecture for the Cattelle, W. R.— The Diamond. 1911. season under the auspices of the Rhode Cattelle, W. R.— The pearl. Island School of Design was given on the Cunynghame, H. FI. — European en- evening of Friday, September twenty- amels. 1906. seven, in Memorial Hall. The speaker was Dillon, Edward — Glass. 1907. Douglas C. McMurtrie, Director of the Guiffrey, Jean and Marcel, Pierre. Red Cross Institute for Crippled and Dis- La peinture frangaise. Les primitifs. abled Men in New York City. His n. d. subject was “Restoring the Disabled Nicholson, William.— An alphabet. 1898. Soldier to Self-support.” The earnestness Saglio, Andre.— French furniture, n. d. of the speaker, the presentation of the Thayer, G. H.— Concealing-coloration good work done for soldiers in France, in the animal kingdom. 1909. Britain, and Canada, the illustrations by Triggs, H. I. and Tanner, Henry, Jr. stereopticon and moving picture, and Some architectural works of Inigo the fact that the problem was one imme- Jones. 1901. diately before the American public, all combined to make the lecture most im- SIGNS OF PROGRESS pressive the large audience present. to Age of institution, forty-one years. Etchings by Frank W. Benson. School, 1917-1918 The Museum has recently made two ad- Total Registration 1246 ditions to the permanent collection from Day Classes 191 the exhibition of etchings by Mr. Frank Evening Classes 673 W. Benson which was on view in the Saturday Classes 218 Museum in May. The two chosen are Vocational Classes 124 entitled “Study of Geese” and “The Bald Special Class in Manual Training. 30 Eagle.” Mr. Benson is particularly happy States represented 7 in this field. We are told that it was in Number of teachers 73 1912 that he took up etching seriously,

Diplomas (from 7 departments) . . 34 and since that date there has come into Certificates (from 7 departments) 39 existence a remarkable series of studies Museum of birds, hunting-scenes, life along the Attendance 85,416 shore, and animals. The treatment of Number of children from public birds is perhaps the happiest and shows Schools 2,662 the greatest study. The etchings have Number of additions 1,746 many points of interest to the sports- Special Exhibitions held. 20 man, to the lover of bird-life, to the student of etchings, and to one who ap- Library preciates the many sides of Mr. Benson’s Volumes added 365 nature. Post cards added 151 Lantern slides 310 ACCESSIONS TO THE LIBRARY Reproductions added 122 Volumes circulated 5,862 The following books are among those Reproductions circulated 11,081 added during the past quarter: Periodicals circulated 448 Bonomi, E., ed. — L’ltalia monumentale. 34v. 1910-1916. Membership

of honorary members . . 1 Bouchor, J. F.— Souvenirs of the Great Number “ War. 1914. “ life members 44 “ Brauns, Reinhard.— The mineral king- “ governing members. . 148 “ dom. 1912. “ annual members 561