,'.";„' l«SSl^.^#::d^K:tig 'i:'..)' 'li' vtTi '•/.'jX.'-ur;*.'! ./ NpSa St Ac ^, Slljata. JJtai ^otk COLLEGE OF ARCHITECTURE LIBRARY :,- \ Cornell University Library ND 50.V28 1915 A text-book of the history of painting, 3 1924 015 225 083 COLLEGE HISTORIES OF ART KDIIED BY JOHN C. VAN DYKE, L.H.D. HISTORY OF PAINTING JOHN C. VAN DYKE COLLEGE HISTORIES OF ART EDITED BY JOHN C. VAN DYKE, L.H.D. Professor of the History of Art in Rutgers College HISTORY OF PAINTING By John C. Van Dyke, the Editor of the Series. With Frontispiece and 152 Illustrations, Bibliographies, and Index. Crown 8vo, net, $1.50. HISTORY OF ARCHITECTURE By Alfred D. F. Hamlin, A.M., Professor of the His- tory of Architecture, Columbia University, New York. With Frontispiece and 235 Illustrations and Diagrams, BibUographies, Glossary, Index of Architects, and a General Index. Crown 8vo, net, §2.00. HISTORY OF SCULPTURE By Allan Maequand, Ph.D., L.H.D., Professor of Art and Archaeology in Princeton University, and ARTHirR L. Frothingham, Jr., Ph.D. With Frontispiece and 113 Illustrations. Crown 8vo, net, $1.50. TITIAN. LA BELLA. PITTI, FLORENCE. A TEXT-BOOK OF THE HISTORY OF PAINTING BY JOHN C. VAN DYKE, L.H.D. PROFESSOR OF THF. HISTORY OF ART IN RUTGERS COLLEGE, AND AUTHOR OF " ART FOR ARt's SAKE," "the meaning OF PICTURES," "neVV GUIDES TO OLD MASTERS," ETC. NEW EDITION LONGMANS, GREEN, AND CO. FOURTH AVENUE AND 30TH^ STREET, NEW YORK LONDON, BOMBAY, CALCUTTA AND MADRAS I915 COPYRIGHT, 1094, BY LONGMANS, GREEN, AND CO. COPYRIGHT, I 9 I 5, BY LONGMANS, GREEN, AND CO. ALL RIGHTS RESERVED First Edition, October, 1894. Reprinted, March, 1895 and November, 1896. Revised. November, 1897, and November, 1S98. November, 1899, and October, 1901. December, 1902, and April, 1904. September, 1905. August, 1907. February, 1909. July, igro. Revised. May, 1912. November, 1913. April, 1915. New Edition, enlarged and rewritten, with many new Illustrations. PREFACE TO FIRST EDITION THE object of this series oi textbooks is to provide concise teachable histories of art for class-room use in schools and colleges. The limited time given to the study of art in the average educational institution has not only dictated the condensed style of the volumes, but has limited their scope oi matter to the general features of art history. Archaeological discussions on special subjects and ;esthetic theories have been avoided. The main facts of history as settled by the best authorities are given. If the reader choose to enter into particulars the bibUography cited at the head of each chapter will be found helpful. Illustrations have been introduced as sight-help to the te.xt, and, to avoid repetition, abbreviations have been used wherever practicable. The enumeration of the principal works of a school, or period, and where they may be found, which follows each chapter, may be serviceable to trav- elling students in Europe. This volume on painting, the first of the series, omits mention of such work in Arabic, Indian, Chinese, and Per- sian art as may come properly under the head of Ornament. In treating of individual painters it has been thought best to give a short critical estimate of the man and his rank among the painters of his time rather than the detailed facts of his life. Students who wish accounts of the lives of the painters should use Vasari and the various encyclo- pedias and histories cited in the bibhography, in connection with this text-book. „ , , „ C. VAN JOHN-^ DYKE October, 1894 PREFACE TO REVISED EDITION THE WT)- favorable reception which this httle text- book has met with at the hands of the pubhc en- titles it to a new dress of type, new illustrations, and a thorough revision of the written matter. In giving these there has been an attempt to modernize the book without materiall}' changing or expanding it. The original plan of making it merely an outline sketch of the history of painting — something that the student may fill in by the aid of the cited bibliography — has been retained. Addi- tions to the text chiefly concern recently discovered ma- terials, new matter modifying perhaps the history of a school, newly discovered artists in the old schools, or newly arrived painters in the present-day schools. There has been much questioning in recent years of the attribu- tions of the old masters and this, too, has necessitated some modification of critical opinion in individual cases. Art history grows with the years and the books that record it are in need of frequent revision. The study of the history of painting has received great help in modern times through photography. It is now possible with the countless good photographs and repro- ductions to carry on the study at home. This is, of course, not so satisfactory as seeing the original pictures, but is, nevertheless, to be recommended as a substitute. In the General Bibliography will be found reference to X PREFACE TO REVISED EDITION books wholly made up of reproductions which can be bought at a low price and furnish excellent sight-help to the written text. Catalogues of some of the European galleries are also listed and should be used for their con- cise biographies of painters. As for the pictures in the European galleries I do not hesitate, immodest though it be, to recommend my own critical notes upon them pub- hshed under the general title of Neiv Guides to Old Masters. Acknowledgments are made to the respective publishers of Walters, Art of the Greeks, Isham, History of American Painting, Henderson, Constable, Flinders-Petrie, Arts and Crafts of Egypt, and the fine series of art histories by Perrot and Chipiez, for permission to reproduce a few illustrations from these publications. March, 1915 J. C. V. D. TABLE OF CONTENTS PAf-.E List of Illustr \tioxs xiii C'.i;xKKAi, BiBLim.RAi'iiv xvii I-NTKOULCTRIX Xxi ClIAPTKR I Egyptian Paixtixg i CHAPTER 11 Babyliixiax-Ass\riax, Persian, Phcenician, Cypriote, and Asia MixoR Painting 13 CPLVPTER III CiREEK, I-'.TRUSCAX, AND RoMAN P.UXTIXG 27 CHAPTER IV Italian Paixting — Early Christian and Medleval Period, 30^1250 43 CHAPTER V Italiax Painting — Gothic Period, i 250-1400 55 CHAPTER VI Italian Painting — Early Renaissance, 1400-1500 70 CHAPTER VII Italian Painting — Early' Renaissance, 1400-1^00, Continued . 87 CHAPTER VIII Italian Painting — High Renaissance, 1500-1600 102 CHAPTER IX Itallyn Painting — High Renaissance, 1500-1600, Continued . 115 CHAPTER X Italian Painting — High Renaissance, 1500-1600, Continued . 127 xil TABLE OF CONTENTS CHAPTER XI Italian Painting — The Decadence and Modern Work, 1600- 1915 141 CH-\PTER XII French Painting — From the Beginning to Nineteenth Century 153 CHAPTER XIII French Painting — Nineteenth Century 167 CHAPTER XIV French Painting — Nineteenth Century, Continued 182 CHAPTER XV French Painting — Nineteenth and Twentieth Centuries, Conlinued igi CHAPTER XVI Spanish Painting 204 CHAPTER XVII Flemish Painting — From the Beginning to Sixteenth Cen- tury 220 CHAPTER XVIII Late Fleidsh and Belgian Painting 23 s CHAPTER XIX Dutch Painting 250 CHAPTER XX German Painting 275 CHAPTER XXI British Painting 2g5 CHAPTER XXII American Painting 3ig Postscript ,,5 I^E^ 343 LIST OF ILLUSl'RATIONS Titian, La lUlla, PiUi I'roiUlspicoe PAGE 1. of Mcdiin. Mempliitc Geese Period 3 2. Hunting Scene. Second Period Theban 5 Akhenaten and Queen. Second 3. Thclmn Period 7 4. ileneptah. Second Theban Period g 5. Bulls in a Marsh. Late relief 11 0. Wild Goals. British Mus 15 7. Enamelled Brick, Nimroud 17 S. Enamelled Brick, Blue Grountl. Nimroud 18 q. " " Yellow and Blue. Nimroud 20 10. Persian Archers. Paris 21 11. C>-priote Painted Vase 23 12. C\priote Vase Decoration 25 13. Cervetri WaU Painting. London 29 14. Vase Painting. Paris 31 15. Greek and Amazon. Corneto 34 16. Hercules Strangling the Serpents. Pompeii 36 17. Aeneas wounded. Pompeii 39 18. Greek Portrait, Fayoum 40 19. Amphora. Lower Italy 41 20. Chamber in Catacombs 45 21. Christ as Good Shepherd. Catacombs 47 22. Christ and Saints. Catacombs 49 23. Madonna and Child. Byzantine Style 51 24. Byzantine Crucifix. Pistoia 53 25. Giotto, St. John at Patmos. Florence 57 26. Andrea da Firenze, Resurrection. Florence 59 27. Orcagna, Paradise (detail). Florence 62 28. SpineUo Aretino, St. Benedict and Totila. Florence 64 29. Simone Martini, Guido Riccio da Fogliano. Siena 66 30. Lorenzetti, Peace (detail). Siena 67 xiv LIST OF ILLUSTRATIONS 31. Masaccio, The Tribute Money. Florence 71 32. Pollajuolo, Portrait. Milan 73 33. Botticelli, Spring (detail). Florence 75 34. Ghirlandajo, Portrait (detail). Florence 77 35. Melozzo da Forli, Playing Angel. Rome 79 36. Perugino, St. Michael. Florence 81 37. Pinturicchio, St. Catherine. Rome 83 38. Cossa, St. John. Milan 85 39. Mantegna, Holy Family. Dresden 8g 40. Lorenzo Veneziano, Annunciation. Venice 91 41. Vivarini, Altarpiece. Venice 93 42. Crivelli, Madonna and Child. Milan 95 43. Carpaccio, St. Ursula (detail). Venice 97 44. Bellini, St. Catherine (detail). Venice 99 45. Basaiti, Sons of Zebedee. Venice too 46. Fra Bartolommeo, Deposition. Florence 103 47. Fra Paolino, Madonna and Saints. Florence 105 48. Andrea del Sarto, Madonna dell' Arpie. Florence 107 49. Michelangelo, Delphic Sibyl. Rome log 50. Raphael, Disputa (detail). Rome in 51. " Leo X (detail). Florence 113 52. Leonardo da Vinci, Mona Lisa. Paris 116 53. Luini, Madonna of Rose Trellis. Milan 117 54. Solario, Madonna of Green Cushion. Paris 118 55. Sodoma, Ecstasy of St. Catherine. Siena 120 56. Dossi, St. Sebastian. Milan 122 57. Correggio, Holy Night. Dresden 124 58. Correggio (copy), Angel. Florence 125 59. Giorgione, Portrait. Berlin 129 60. Titian, Sacred and Profane Love (detail). Rome 131 6r. Tintoretto, Removing Body of St.