Archives Scrapbooks

law, and successor of Velazquez. Because of Mazo's relationship to Velazquez, works which are obviously not by Velazquez are frequently ascribed to Mazo, as the next most probable painter, with such incongruities as occur in this loan exhibition where it is clear that the same man could not easily have painted both the Portrait of a Man, attributed to Mazo, and the Portrait of a Man, attributed to Velazquez. If, as the catalogue has it, but in 1610, as the portrait of a man, in the style of Velazquez, and that Mazo was born, it appears, not in 1610, as the catalogue has it, but in 1612, and he died in 1667, not in 1687.

Arriving now at the great names in the story of Spanish painting, we find in this exhibition four canvases to represent Zurbaran, of which one, Christ at Gethsemane, in the upper left-hand corner, is, to be sure, similar to that in a picture in the Dresden Gallery (No. 696), of Saint Francis, but it is not the same. The fact that the prayer for divine guidance in selecting a successor to the See of Saint Peter. The differences in the modeling and illumination of the angelic anatomy, the handling of the drapery and other details, correspond to one element in the present work which has no counterpart in any other known work by Zurbaran, and that is the sentimental moon veiled by indigo clouds. It is perhaps within the bounds of possibility that this picture was painted in 1664, the year on the label of this panel, but the attribution to Zurbaran is, to my mind, not established.

The catalogue of the exhibition at the Metropolitan Museum gives Zurbaran's dates as: born in 1598; died in 1664 at Madrid. However, the artist was not dead for at least two years afterward, since on February 28, 1666, he was vigorous enough to appear, with the aid of his friend Francisco Rizi, the pictures in the estate of Francisco Jacinto de la Cerda.

The simplicity and naive charm of the work here entitled Daughters of the Artist Juan de Roelas remind one of the provincial German and American painters at the beginning of the nineteenth century, except that the artist from Extremadura was surrounded by a tradition of able draughtsmanship and sustained by a noble religious fervor through which his native, childlike directness is enhanced, as in the three examples here exhibited. The Flight into Egypt, lent by the Toledo Museum of Art, contains the same simple, unadorned type of Zurbaran by the New York public. The portrait of a Carthusian monk reading, in the collection of the Hispanic Society, displays Zurbaran at his very best. The Flight into Egypt, with its introduction of contemporary accessories demonstrates the conscientious drawing and accentuated plastic relief which was the very birthright of a country whose favored means of expression was polychrome sculpture. The smaller Portrait of a Girl, lent by the Detroit Institute of Arts, represents the subject in fashionable dress, but as in other examples of this type, to be seen in the collection of the Hispanic Society and elsewhere, the intention was to depict a heroine of the Church.

The product of Jusepe de Ribera is represented by the first one panel of the first rank among his prolific productions, and several others of varying merit. The clean, firm drawing and thoroughly competent artistry of Saint Jerome, from the Fogg Art Museum, show this master at a high point in his achievement, and the Portrait of a Man, lent by Arthur and Alice Sachs, gives a choice example of his silvery, cool manner, where monumental simplicity is united with a more delicate sense of color and light. The portrait of an Old Man, which is an Old Man, thought to be a fragment from The Triumph of Bacchus, is hardly inferior to the St. Matthew awarded in this exhibition to Velazquez.

An older theory is reflected in the introduction to the catalogue where it is said: "Not only the entire Spanish school, in the seventeenth century, but much of what was most vigorous in painting throughout Europe at that time can be traced back to Caravaggio, the Italian who, in the late sixteenth century, created a new type of naturalism which was to have an immense influence on the art of the seventeenth century. The most important of the Spanish painters who fell under the influence of Caravaggio was Ribera, who was born in Valencia, but who spent most of his life in Italy. The popularity of his powerful, dramatic style was not confined to Italy, but extended to Spain, and it is this art that is represented here. The work of Ribera, from whom Velazquez and Murillo learned so much, more indeed than by the work of Caravaggio during his lifetime. The combination of a dramatic chiaroscuro and a polychrome manner, so typical of the Spanish school, is here represented by the Portrait of a Man, lent by Michael Friedsam; Christ Driving the Money-Changers from the Temple, sent by the Minneapolis Institute of Arts; and the Saint Andrew, lent by the Kimball Art Museum.

On the whole, El Greco and Goya are the important Spanish masters who are most adequately and significantly represented here. Especially fine are the Portrait of a Man, lent by Michael Friedsam; Christ Driving the Money-Changers from the Temple, sent by the Minneapolis Institute of Arts;

The image is a page from a book, specifically page 175, which appears to be discussing art history, particularly Spanish painting. Here are the key elements:

1. Content Summary:

   • The text discusses the attribution and dating of paintings, particularly focusing on Zurbarán and other Spanish artists.
   • It mentions the relationship between Velázquez and Mazo, and how Mazo's works are frequently attributed to Zurbarán despite inconsistencies.
   • The text highlights the dating of Zurbarán's works and their placement in the context of his career.
   • It notes the significant works by Zurbarán such as "The Flight into Egypt," "Daughters of the Ruelas," and "The Portrait of a Girl," and their depiction of simplicity and naive charm.
   • The text also touches on the influence of Caravaggio on Spanish painting, particularly through figures like Francisco Ribalta and the works of El Greco and Goya.
   • It discusses the artistic styles and contributions of several artists, including the clean and competent artistry of Saint Jerome, and the portrayal of various subjects like a man in a fashionable dress and a Carthusian monk.

2. Specific Artworks and Exhibitions:

   • The text mentions an exhibition at the Metropolitan Museum of Art and a loan exhibition at the Hispanic Society.
   • It refers to works such as "The Flight into Egypt" and "The Portrait of a Girl," showcasing their historical and stylistic significance.

3. Historical Context:

   • The discussion covers the evolution and influence of Spanish painting, from early Spanish masters to the impact of Caravaggio and the Baroque period.
   • It mentions how the methods and styles of Italian artists like Caravaggio influenced Spanish artists, particularly in the seventeenth century.

4. Catalogue and Exhibitions:

   • The text references the catalogue provided at the Metropolitan Museum, which includes dates and attributions of the paintings, highlighting Zurbarán's dates and the exhibition context.

Overall, the text provides a detailed and contextual examination of specific works of art, their authorship, and their place within the broader historical and artistic landscape.

The document discusses the attribution and significance of works by Spanish painters, particularly focusing on Zurbarán and Velázquez. It mentions that Velázquez's successor, Mazo, is frequently ascribed works that are more likely attributed to Zurbarán, given the inconsistencies in the loan exhibition. The text also highlights the uncertainty surrounding Zurbarán's birth and death years, with conflicting dates provided by different sources. It describes several paintings attributed to Zurbarán, noting their unique characteristics and the influence of his contemporary, Francisco de Zurbarán. The document also touches on the artistic influences and the popularity of Spanish painters in Italy during the 17th century, particularly the impact of Caravaggio. It concludes by mentioning important Spanish masters like El Greco and Goya, with specific works such as 'Portrait of a Man' and 'Christ Driving the Money-Changers from the Temple' being highlighted.

The image depicts a page from a book or exhibition catalog that discusses various artists and their works, specifically focusing on Spanish painters. Here's a detailed summary:

1. Mazo and Velázquez:

   • The text mentions Mazo, who is noted for his close relationship with Velázquez, often overshadowed by him. Mazo's works are frequently mistaken for those of Velázquez due to similarities in their styles and subject matter.
   • Mazo was born in 1610, appeared in records by 1612, and died in 1667.

2. Zurbarán:

   • The text delves into the life and works of Francisco de Zurbarán, another prominent Spanish painter. It highlights his exhibition at the Metropolitan Museum, where he was born in 1598 and died in 1664.
   • The simplicity and charm of Zurbarán's works are praised, particularly his religious-themed paintings which have a naive, childlike directness.
   • An example of his work, "Saint Francis in Meditation," is noted for its powerful depiction and emotional resonance.
   • The portrait of the "The Flight into Egypt" is discussed as an introduction to contemporary accessories demonstrating Zurbarán’s adeptness at detailed and realistic depictions.

3. Portraiture and Other Works:

   • The smaller "Portrait of a Girl" from the Detroit Institute of Arts is mentioned as part of the Hispanic Society collection, noted for its exquisite detail and color.
   • The production of José de Ribera is also highlighted, specifically his early works showing a firm, clear, and thorough artistic mastery.
   • The text discusses the development of Spanish portrait artistry, mentioning the influence of Caravaggio’s dramatic chiaroscuro techniques and the works of Ribalta, who developed a similar style in Spain.

4. El Greco and Goya:

   • The page concludes by touching on the importance of El Greco and Goya, two significant figures in Spanish art. El Greco is noted for introducing a new intensity and influence in portrait painting, while Goya is praised for his adept and significant representations, particularly the "Portrait of a Man" held by Michael Friedsam.

The page provides a rich historical context and analysis of the works of these Spanish painters, emphasizing their unique contributions and stylistic influences.

The image is a page from a book discussing Spanish painters and their works, specifically focusing on Diego Velázquez and Francisco de Zurbarán. Here's a detailed summary:

1. Mazo and Velázquez:

   • Mazo is identified as the successor of Velázquez and is described as the most probable painter of several works attributed to Velázquez due to stylistic similarities.
   • Mazo's birth year is noted as 1612, not 1607 as previously cataloged, and he died in 1667.

2. Zurbarán:

   • Zurbarán's work is highlighted, particularly the canvases representing Zurbarán, Christ at Gethsemane, and the angelic anatomy.
   • The text mentions that Zurbarán was not dead by 1664 and was known for his religious fervor and dramatic use of light and shadow.
   • Zurbarán’s works are compared to those of other artists like Francisco Rizi and Francisco de Ruelas, noting their shared provincial German and American influences.

3. Exhibition and Works:

   • The exhibition at the Metropolitan Museum of Art is mentioned, with Zurbarán's dates of birth and death provided.
   • The simplicity and naive charm of Zurbarán's work are praised, with specific mention of "The Flight into Egypt" and "Saint Serapion."
   • The "Portrait of a Carthusian Monk" is noted for its detailed depiction of the monk's robe, exemplifying the artist's meticulous style.

4. Artistic Influence:

   • The text discusses the influence of Caravaggio on Spanish painters like Ribera and Zurbarán, emphasizing the dramatic use of chiaroscuro (strong contrasts between light and dark).
   • The popularity of Ribera's style in Italy is attributed to the power and productivity of artists like Caravaggio and his followers, who influenced the Spanish school.

5. Important Works:

   • The book highlights significant works by El Greco and Goya, noting their adequate representation in the exhibition.
   • Specific paintings are mentioned, such as "Christ Driving the Money-Changers from the Temple" by El Greco, lent by the Minneapolis Institute of Arts.

Overall, the page provides a detailed analysis of the contributions and influences of key Spanish painters, emphasizing their unique styles and the impact of Italian artists like Caravaggio on their work.

The image shows an open page from a book or catalog, specifically page 175. The text on the page discusses various Spanish painters and their works, providing insights into their lives, artistic styles, and the historical context of their creations.

Key points from the text include:

1. Mazo and Velazquez: The text mentions Mazo, the son-in-law and successor of Velazquez, and notes that works attributed to Velazquez are frequently loaned to Mazo. It highlights the incongruities in Mazo's works when compared to Velazquez's.

2. Zurbarán: The text discusses Francisco de Zurbarán, noting his work "Saint Serapion" and its similarities to another painting in the Doria Gallery. It mentions the differences in the drapery handling and the possibility of the name Mateo Cerezo being placed on the label of the painting.

3. Jusepe de Ribera: The text describes Ribera's work, particularly "The Portrait of a Girl," which is noted for its delicacy and charm. It also mentions "The Martyrdom of Saint Bartholomew" and "The Portrait of an Old Man," highlighting Ribera's skill in depicting silvery, cool tones and monumental simplicity.

4. Caravaggio's Influence: The text discusses the influence of Caravaggio on Spanish painting, noting that his style was introduced to Spain by Francisco Ribalta. It mentions that Caravaggio's principles were adopted by artists like Sebastiano del Piombo and Jusepe de Ribera.

5. El Greco and Goya: The text briefly mentions El Greco and Goya as important Spanish masters who are well-represented in the exhibition.

The page also includes a reference to the Detroit Institute of Arts and the Hispanic Society, indicating that some of the works discussed are part of their collections. The text is dense and scholarly, providing a detailed analysis of the artists and their works.

The image shows a page from a book with text on it. To the right side of the page, four evenly spaced tabs stick out, probably indicating sections or chapters within the book. At the top right-hand corner of the page, next to the binding, there is a handwritten orange mark, perhaps a check mark or a brief annotation made by a reader. The page is numbered 175 at the bottom, and it appears to be discussing art and artists, with references to Velazquez, El Greco, and Goya, among others. There are mentions of various artworks, such as a "portrait of a Man" by El Greco, and institutions like the Minneapolis Institute of Arts. The text also discusses the influence of Italian art and the tradition of dramatic chiaroscuro in the context of art history. Without more context or an image of the opposing page, it's unclear what the exact subject of the book is, but it is likely an academic or scholarly work on art history.

The image shows an open book displaying a single page of printed text. The page is numbered 175 and appears to be part of a larger volume. The text discusses Spanish painters and artworks, mentioning artists such as Velazquez, Mazo, Zurbarán, Jusepe de Ribera, El Greco, and Goya. It describes their styles, influences, and some specific paintings attributed to them. The page is cream-colored with text in black ink, printed in two columns. The book's edges and some adjacent pages are visible, indicating it is part of a bound volume. The text contains detailed art historical commentary and contextual information about the artworks and their creators.

The image shows an open book with a printed page visible. The page appears to be from an art history or academic text, discussing topics related to Spanish painters, notably Velázquez and Zurbarán. The text is dense and formatted in a classic, scholarly style, with paragraphs and references to specific artworks and historical contexts.

Key Observations:

1. Content: The text discusses the works of Velázquez, Zurbarán, and other Spanish artists. It mentions specific paintings, such as The Flight into Egypt by Zurbarán, and references to other artists like Caravaggio, Ribera, and Velázquez. The text also touches on the historical and artistic significance of these works, including their influence on later artists and their place in the Spanish art tradition.

2. Layout: The page is formatted in a standard book layout, with justified text and numbered pages. The visible page number is 175, indicating that this is part of a larger volume.

3. Typography: The text is printed in a serif font, typical of academic or historical publications. The font size is moderate, suitable for detailed reading.

4. Condition: The book appears to be old or well-used, with visible signs of wear. The edges of the pages are slightly worn, and the spine of the book is visible, suggesting it is part of a bound volume.

5. Context: The content suggests that the book is likely an art history textbook, catalog, or scholarly work focusing on Spanish Baroque art, particularly the works of Velázquez and his contemporaries.

Summary:

The image depicts a page from an art history book, focusing on Spanish painters such as Velázquez and Zurbarán. The text is dense and scholarly, discussing the artists' works, their historical context, and their influence on later art movements. The page is numbered 175, and the book appears to be well-worn, indicating it may be part of a collection or frequently referenced resource.

The image shows an open book with text on both pages. The left page has a paragraph of text that reads, "The simplicity and naive charm of the work remind one of the provincial German and American painters at the beginning of the nineteenth century, except that the artist from Estremadura was surely, founded by a childlike draughtsmanship sustained by a tradition of able draughtsmanship, which has his native, childlike directness, enhanced as in his three lent by the Toledo Museum of Art, contains a much-needed element to an understanding of Zurbarán by the New York public." The right page has a paragraph of text that reads, "On the whole, El Greco and Goya are the important Spanish masters who are most adequately and significantly represented here. Especially fine are; the Portrait of a Man, lent by Michael Fried-Temple, sent by the Minneapolis Institute of Arts; Christ Driving the Money-Changers from the Temple, sent by the Minneapolis Institute of Arts; and the Portrait of a Girl, lent by the Detroit Institute of Arts." The text is in a serif font and is written in black ink. The pages are white with a slightly yellowed border.