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Pictures in the Collection of P.A.B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania. Early German, Dutch & Flemish

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Pictures in the Collection of P.A.B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania. Early German, Dutch & Flemish .-.y.\ : int tne of > ^ Lynnew(Xid Hafl, Eiuns Part^'J^ft ..r5n^- '- ./-r. -»R*;-;i--j^ •*’ ' '1 - • •• t* *• • - ' >- . mi c >--d^ ' - .-.-^ ** * -^V - r't^ky *'. EaAy German- • ' 4^1^ "" G . : S Dutch & = Flemish ^ Schools it -. - - : » fi' . ••' '. *•••'•>. • r '. Hi ' 'V T — ' "’ *• ^ • • * . j V , - -V ' - ^-— - . > " ,"~;r •. .. r'i- t,,. le ' ’ - • ^. ;|ss- - .V , I*' >•» , With an IntroducfHon by Wilhelm R- Valcntiner, and Biograph- "Ap- i> ical and Descripcive Notes by C. Hofstede dc Gr<^t and r. Wilhelm R.Valeminct. Philadelphia: Privately Printed, 1913 - - -i.. .... ^ * K V-. s ^ ‘ii- a? . -i Pidures in the Colledion of P. A. B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania Early German Dutch & Flemish Schools With an Introduction by Wilhelm R. Valentiner, and Biograph- ical and Descriptive Notes by C. Hofstede de Groot and Wilhelm R. Valentiner. Philadelphia: Privately Printed, 1913 FOR TWO HUNDRED COPIES HAVE BEEN PRINTED PRIVATE CIRCULATION ONLY No. Ns 9^ 9^0 c,\ 1 CONTENTS INTRODUCTION I EARLY FRENCH, GERMAN AND FLEMISH MASTERS 1 Hans Maler zu Schwaz 3 Franfois Clouet (attributed to) 2 Gerard David 4 Corneille de Lyon II DUTCH MASTERS OF THE SEVENTEENTH CENTURY 21 5 Nicolaes Berchem Meindert Hobbema 6 Abraham van Beyeren 22 Pieter de Hooch 7 Esaias Boursse 23 Pieter de Hooch 8 Quirin van Brekelenkam 24 Karel du Jardin Kalf 9 Jan van de Cappelle 25 Willem lO Aelbert Cuyp 26 Nicolaes Maes 1 Aelbert Cuyp 27 Michel Jansz Mierevelt 12 Aelbert Cuyp 28 Adriaen van Ostade 13 Frans Hals 29 Isack van Ostade H Frans Hals 30 Paulus Potter 15 Frans Hals 31 Rembrandt Harmensz van Rijn i6 Frans Hals 32 Rembrandt Harmensz van Rijn 17 Frans Hals 33 Rembrandt Harmensz van Rijn i8 Jan van der Heyden and Adriaen 34 Rembrandt Harmensz van Rijn van de Velde 35 Rembrandt Harmensz van Rijn 19 Meindert Hobbema 36 Rembrandt Harmensz van Rijn 20 Meindert Hobbema 37 Rembrandt Harmensz van Rijn CONTENTS II DUTCH MASTERS OF THE SEVENTEENTH CENTURY (CONTINUED) 38 Rembrandt Harmensz van Rijn 44 Jan Steen Rijn Adriaen van de Velde 39 Rembrandt Harmensz van 45 Willem van de Velde 40 Rembrandt Harmensz van Rijn 46 Jan Vermeer 41 Jacob van Ruisdael 47 Weenix 42 Salomon van Ruysdael 48 Jan 43 Jan Steen III FLEMISH MASTERS OF THE SEVENTEENTH CENTURY Anton van Dyck 49 Anton van Dyck 54 van Dyck 50 Anton van Dyck 55 Anton Anton van Dyck 51 Anton van Dyck 56 Peter Paul Rubens 52 Anton van Dyck 57 53 Anton van Dyck — I EARLY FLEMISH, GERMAN AND FRENCH MASTERS OME remarkable examples of northern Renaissanee art, mostly belonging to the early years of the sixteenth century, prepare the way for the Dutch and Flemish seventeenth-century S schools which form the most prominent part of the Widener Colleftion. The earliest of these examples, belonging to the period of transition from Gothic to Renaissance, is Gerard David’s Altar of St. Anne, the most ambitious work of the greatest of the late fifteenth-century Bruges masters. The figures of St. Aime on the centre panel, and of St. Nicholas of Bari and St. Anthony of Padua on the two wings respeftively, are depi<fted with supreme simplicity in attitudes of priestly dignity. This altarpiece was discovered in 1886 in the colledion of Count Montenegro at Palma on the island of Majorca, and, in the opinion of its discoverer, Carl Justi, was designed originally for the Church of St. Nicholas in that town. It is a well-known fait that, during the fifteenth century, Flemish artists were commissioned by Spanish churches to execute a number of important akarpieces. Seven additional panels of smaller dimensions originally belonged to this triptych, and were still at Palma in 1886. Six of these depided scenes from the lives of St. Anthony and St. Nicholas, and are now in the possession of Lady Wantage, Lockinge, Berks; the seventh The Virgin Weeping over the Body of Christ— is in the colledion of Mr. von Nemes in Budapest. Various surmises have been hazarded as to the manner in which these smaller panels were connetked with the large triptych. It is probable that the small paintings were arranged one above the other on the outer side of the wings in such a manner that, when the shrine was closed, scenes from the lives of the two saints, whose portraits adorn the open altarpiece, became visible. The seventh panel must have been placed in the centre underneath the figure of St. Anne. David was at his happiest in depifting the quiet and conventional. He lacked passion and sense of the dramatic. Consequently the portrayal of these figures, with their solemn, rigid atti- tudes, lay exactly within the sphere of his talent and afforded him the opportunity to elaborate the detail of the work, and linger with rare art over the workmanship of the brocades and hangings, the stone carvings of the throne and the landscape background. If the whole impression created is somewhat cool and remote, this must be attributed to the unusual dimensions of a work planned to be viewed from a distance, and which, consequently, presented unsuspeded difficulties to a Flemish artist of that period. One must remember that Flemish painting developed from the art of miniature, and that from its early beginnings to Gerard David’s time, hardly more than a dozen akarpieces of the compass of the St. Anne triptych have been preserved. INTRODUCTION period we have an example of early German portraiture Among the paintings of the succeeding expression of the art of Germany at tbs ttme^ We re er which wasfperhaps, the best and clearest painter Hans er White Coif, from the brush of the Ulm Ma tb port ait of a Woman Wearing a To case with tbs example, “ artist, whose work as was the Sehwaz, executed about 15.5. This Holbein, has only of late years, and primarily through Dr. Tas frequemly confounded with that of portrait painters one of the best of the South German Friedlander’s agency, been recognized as sometimes ranks hardly second to Holbein himself, although In his power of charaderization he plastic modelling, and in his drawing, which is harder differing substantially from him in a less Maler showed a prediledion for strong color con- and more influenced by the manner of Diirer. sitter s white background is contrasted pleasingly with the trasts, and in the portrait the green in gold, and with the yellow sleeves. head-dress with its pendant ends embroidered the French artists of the period laid no stress In contrast to the German school of portraiture, Theirs was the art, however, of giving on the expression of their model’s individuality or soul. of elegance, which rendered them particu- an outward air of charm and an unmatched atmosphere In fail, the most eminent artists, such as the larly fitted for the portrayal of an artistic society. and filled their numerous Clouets and Corneille de Lyon, worked mostly for the Parisian court, of the two small por- commissions in a somewhat superficial, yet always charming, manner. One of Franqois Clouet, whose works, until traits in the Widener Colledion beats the traditional name contemporaries. The the present time, have not been accurately distinguished from those of his technique, can with second portrait, with its charaSeristic green background and fine, enamel-like safety be attributed to Corneille de Lyon. Both are good examples of their authors’ work. The Corneille de Lyon portrait in particular is remarkable for its expressive charaderization and pains- taking execution. II DUTCH MASTERS OF THE SEVENTEENTH CENTURY NEXPECTED as the supremacy of the great Dutch masters Frans Hals and Rembrandt appears after a hasty survey of the feeble work of their predecessors, a closer study reveals U isolated paintings which worthily presage these great masters. Mierevelt’s Portrait of yielded works of more Maria Breman is an example in kind by an artist whose fertile brush seldom than average merit. In this portrait he rises above the mere copying of nature and achieves a strongly charaaerized portrayal, lacking only in style and individual conception to rank its author with the masters of the Rembrandt period. The brushwork still retains the yellowish, opaque tone of most sixteenth-century paintings, such as Moro’s, Key’s and others, but the placing of the figure in the composition is more skilful, and its direa simplicity makes a more intimate appeal. Artistic development proceeds generally in extremes. As contrasted with the impersonal con- ception of the transitional artists of the sixteenth to the seventeenth century—Mierevelt, Jacobus Delff, Ravesteyn and others—Frans Hals appears and celebrates in his art the triumph of the painter’s all personality. Hals is represented in the Widener Colkaion by no fewer than five paintings, portraits belonging to the ripest period of his art —the forties and fifties of the seventeenth century. doubtless fall on the If one should seek to choose the masterpiece among them, the decision would portrait of Isabella Coymans, the “ Lady with the Rose,” which may perhaps be called the most charming of all Hals’s portraits of young women. It is the companion piece to the portrait of Stephanus Geraerdts in the Antwerp Museum. The pose of the young woman, who holds a rose in her right hand, corresponds to that of her husband in the companion pifture, who holds out his hand to receive the flower. It is charadteristic of Hals’s artistic daring to bind together, through a dramatic motive, two separately framed portraits without thereby sacrificing their separate individuality. This pose, too, has been made use of by the artist in his charadferization of his hesitating sitters.
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