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EARLY ITALIAN SCHOOL SHOWN

Durlacher Bros. Exhibit 17th Century Baroque School Paintings

By DR. FRANK E. WASHBURN
FRIEND

NEW YORK, Jan. 20 - A year or two ago Hartford Athenaeum did pioneer service in trying to interest American collectors in the paintings of the 17th Century Baroque school, which have been greatly neglected in this country for many years, whilst abroad, especially in England and Germany, it has been recognized and admired, and two societies—the Walpole in London and the other in Berlin—were, years ago, founded for that purpose.

It is the school of Italian painting of the 17th century which, in the connecting link, as it were, between the great Renaissance and what might be called the decadent period. To this transitional school, known as the Baroque, belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong many artists of great merit, such as the Carracci and their followers, and the school of Bologna (the Carracci and their followers) belong

The image is a newspaper clipping from the Boston Herald dated January 31, 1939. The article, written by Dr. Frank E. Washburn Freund, discusses an exhibition titled "Early Italian School Shown" by Durlacher Bros. The exhibit features 17th-century Baroque school paintings.

The article highlights the historical significance of these paintings, noting that they are often overlooked in the United States but were highly regarded in Europe, particularly in England and Germany. The text emphasizes the transitional nature of the Italian school of painting during this period, which bridged the gap between Renaissance and Baroque styles.

The article also touches on the aesthetic qualities and the reception of these paintings, noting the mixed reactions among art critics and the general public. It points out the heavy influence of the Bolognese masters and the overall impression of these works, which might be considered as flamboyant but are actually products of a specific historical and artistic context.

The article concludes by mentioning the exhibition's aim to introduce a broader audience to these paintings, emphasizing the significance of the works by Durlacher Bros. in arousing interest and appreciation for Baroque school paintings. The exhibit was likely intended for both art enthusiasts and the general public, aiming to provide insights and enjoyment through the artworks.

The image is a newspaper clipping from the Boston Herald, dated January 31, 1939. The article is titled "Early Italian School Shown" and discusses an exhibit by Durlacher Bros. of 17th Century Baroque School Paintings.

The article is written by Dr. Frank E. Washburn Freund and begins by mentioning the Hartford Athenaeum's pioneering efforts in promoting interest in American art. It highlights the importance of the early Italian school of painting, which was greatly neglected in the United States for many years but appreciated in Europe.

The text explains the transitional nature of the Italian school of painting, bridging the gap between the Renaissance and Baroque periods. It describes the characteristics of the Bolognese school, known for its clarity and directness, and the Roman school, known for its dramatic and theatrical qualities.

The article discusses the contemporary reception of Baroque art, noting the heavy-handedness and flamboyance of the Roman school, which is sometimes misunderstood or misrepresented. It also mentions the work of a specific artist, Maggiotto, who was influenced by the Bolognese masters, and whose work was part of the exhibit.

The exhibit, organized by Durlacher Bros., includes paintings and drawings from various museums and private collections, aiming to broaden the public's appreciation and understanding of Baroque art. The exhibit is intended to be accessible and educational, aiming to inspire interest and appreciation in the art of the period.

The image is a newspaper clipping from the Boston Herald, dated January 31, 1939. The article is titled "EARLY ITALIAN SCHOOL SHOWN" and is a review of an exhibit by Durlacher Bros. featuring 17th Century Baroque School Paintings.

The article is written by Dr. Frank E. Washburn Freund and discusses the historical significance of the paintings, which belong to the transitional school of Italian painting that bridges the Renaissance and Baroque periods. The school is known for its two main branches: the Bolognese school and the Roman school.

The review highlights the artistry and the unique style of these paintings, which were largely admired in Europe but neglected in America. The Bolognese school is noted for its dramatic and theatrical qualities, while the Roman school is more restrained.

The article also mentions the magnanimous contributions of John Constable, a well-known English landscape painter, to the appreciation of this school of art.

The exhibit includes works from the collections of various museums and private collectors, such as the Fogg Art Museum and Mr. R. Hunter of Chicago, who loaned Guido Reni's painting "St. Jerome."

The article aims to introduce readers to the beauty and intricacy of these Baroque paintings, emphasizing their significance in the history of art.

The image is a newspaper clipping from the Boston Herald, dated January 31, 1932. The article is titled "Early Italian School Shown" and is about an exhibit at Durlacher Bros. featuring 17th Century Baroque School paintings. The article is written by Dr. Frank E. Washburn Freund.

Here's a detailed summary of the content:

1. Introduction to the Exhibit:

   • The article discusses an exhibit at Durlacher Bros. that showcases early Italian Baroque paintings, a school of art that has been neglected in America compared to other countries, particularly England and Germany.

2. Background on Italian Baroque Art:

   • The author notes that societies dedicated to the study of Italian Baroque art have existed in Europe, specifically in London and Berlin.
   • The 17th Century Baroque school is seen as a transitional period between the Renaissance and Rococo styles.

3. Characteristics of the Baroque School:

   • The Baroque school is divided into two branches: the classicists (followers of Carracci and his pupils) and the naturalists (followers of Caravaggio).
   • The author points out that this school is often misunderstood and undervalued, with many people dismissing it without true appreciation.

4. Critique and Appreciation:

   • The author praises the Bolognese masters for their unique approach, particularly their use of chiaroscuro (light and shadow) and a flamboyant mode of execution.
   • The author argues that the Baroque school's contributions are significant and that it is wrong to dismiss this period entirely.

5. Magnasco's Contribution:

   • The article highlights Magnasco, an artist who is described as a forerunner of impressionism and modern landscape painting.
   • Magnasco's work is noted for its vivid visions and unique temperament, making him stand out.

6. Exhibition Details:

   • The exhibit by Durlacher Bros. is noted for its impressive range, including works by various artists and a collection of drawings.
   • The exhibition includes pieces from notable institutions like the Fogg Art Museum and private collections, such as those of Mr. R. C. Vose and Mr. Chester Dale.

7. Conclusion:

   • The author concludes that this exhibition serves as a valuable introduction to the works of the 17th Century Italian Baroque school, despite its limited size.

Overall, the article emphasizes the importance and beauty of the 17th Century Italian Baroque art, advocating for its recognition and appreciation.

The image is a clipping from the Boston Herald, dated January 31, 1932. The article is titled "EARLY ITALIAN SCHOOL SHOWN" and discusses an exhibition of 17th-century Baroque school paintings by Duveen Brothers. The author, Dr. Frank F. Washburn, a freund (friend) from New York, highlights the importance of the exhibition in introducing American art enthusiasts to the works of the early Italian Baroque school, which he notes has been greatly neglected in the United States.

Key points from the article include:

1. Introduction to the Exhibition: The exhibition aims to introduce Americans to the early Italian Baroque school, which includes works from the 15th and early 18th centuries.

2. Artists Mentioned: The article mentions notable artists such as Reni, Domenichino, Guercino, and Caravaggio, emphasizing their contributions to the Baroque period.

3. Heaviness of Outlook: Washburn notes a certain heaviness in the outlook of these paintings, which he attributes to the turbulent times in which they were created. He suggests that this heaviness might make the art less appealing to some viewers.

4. Magnasco's Contribution: The article highlights Francesco Magnasco, a forerunner of Constable in landscape painting. Magnasco's works are described as having a temperament that translates the vibrating life and illuminated landscapes into a mystical and spiritual realm.

5. Purpose of the Exhibition: The exhibition is meant to introduce the public to these lesser-known works, which are not typically found in American museums or private collections. The goal is to provide a better understanding and appreciation of this period in art history.

Overall, the article serves as an introduction and endorsement of the exhibition, encouraging readers to explore and appreciate the rich heritage of early Italian Baroque art.

The image you've provided is of a newspaper clipping titled "EARLY ITALIAN SCHOOL SHOWN" that has been pasted onto a larger, beige-colored sheet of paper or board. The article mentions "Durlacher Bros. Exhibit 17th Century Baroque School Paintings" and is written by Dr. Frank E. Washburn Freund. The content of the article appears to discuss an exhibition of Italian Baroque paintings, referencing specific artists and aspects of the art historical period.

The clipping includes a date stamp at the bottom left corner that reads "Boston Herald Jan 3 | 1938," indicating that this article appeared in the Boston Herald on January 3, 1938.

Given the appearance of the paper and the way it is affixed to the backing material, this item might be part of an archival collection, scrapbook, or a research compilation. The edges of the beige sheet show signs of wear and aging, suggesting the item is of considerable age. The newspaper clipping itself has retained legibility, which would be valuable for anyone conducting research on historic art exhibitions or the Italian Baroque period in art history.

The image displays a faded newspaper clipping titled "EARLY ITALIAN SCHOOL SHOWN" from the Boston Herald dated January 31, 1932. The article discusses an exhibit by Durlacher Bros showcasing 17th-century Baroque school paintings. Dr. Frank E. Washburn Freund authored the piece, and it elaborates on the historical significance and stylistic elements of the early Italian paintings in the exhibit. The clipping is affixed to a larger sheet of paper, which is discolored around the edges but remains blank otherwise.

The image is of a newspaper clipping titled "EARLY ITALIAN SCHOOL SHOWN" with a subheading "Durlacher Bros. Exhibit 17th Century Baroque School Paintings." The article is written by Dr. Frank E. Washburn Freund and discusses an exhibition arranged by Durlacher Bros. featuring 17th-century Baroque school paintings from the early Italian school, focusing on the transitional period between the High Renaissance and the Italian Rococo. The article speaks about the significance of the school, its influence, artists associated with it, and the qualities of their works. At the bottom of the clipping, "Boston Herald Jan. 31 1932" is handwritten. The clipping is mounted on a plain, light-colored background.

The image is a scanned page from a newspaper article titled "EARLY ITALIAN SCHOOL SHOWN", dated January 31, 1932, and published in the Boston Herald. The article is authored by Dr. Frank E. Washburn Freund and discusses an exhibit of 17th Century Baroque School Paintings organized by Durlacher Bros. The headline indicates that the exhibit features works from the early Italian Baroque school, a significant period in art history.

Key Details from the Article:

1. Exhibit Overview:

   • The article highlights the exhibit of 17th-century Baroque school paintings, emphasizing the historical and artistic significance of the Italian Baroque movement.
   • It notes that the Italian Baroque school was founded two centuries ago and was influential in cities such as London and Berlin.

2. Historical Context:

   • The article describes the Italian Baroque school as a transitional phase between the Renaissance and the Baroque periods.
   • It mentions that the school is divided into two main branches: the followers of Bologna (led by the Carracci family) and the followers of Naples (led by Caravaggio and his followers).
   • The text discusses the artistic contributions of these branches and their impact on European art, particularly in France and England.

3. Artistic Characteristics:

   • The article critiques the "heaviness of outlook" often associated with the Baroque school, attributing it to the influence of Reynolds and the Bolognese masters.
   • It contrasts this with the lighter, more dynamic style of Caravaggio and his followers, noting that their works are often more accessible and emotionally engaging.

4. Exhibit Details:

   • The exhibit is curated by Durlacher Bros. and includes a wide range of works from the Baroque school.
   • The article mentions that the exhibition is open to the public and is located at the Pogg Art Museum in Boston.
   • It also notes that the exhibition is part of a broader effort to introduce American audiences to this important period of art.

5. Visual and Emotional Impact:

   • The article emphasizes the emotional and intellectual impact of the Baroque paintings, particularly those by Caravaggio, which are described as "illuminating" and capable of evoking strong emotional responses.
   • It suggests that these works can "make our pulse beat faster" and offer profound insights into the human condition.

6. Conclusion:

   • The article concludes by encouraging readers to visit the exhibit, highlighting its educational value and the opportunity to appreciate the Baroque school's contributions to art history.

Visual Elements:

• The page is a black-and-white scan of a printed newspaper article.
• The text is clearly legible, with a structured layout typical of early 20th-century newspapers.
• The date ("Jan. 31, 1932") and the newspaper name ("Boston Herald") are visible at the top of the page.

Overall, the image captures a historical moment in art appreciation, showcasing the efforts to introduce American audiences to the rich artistic heritage of the Italian Baroque school through a curated exhibition.