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On the slightest excuse J. and Duveneck no longer shut themselves in the studio, I gave up collecting material from my window and lunch from the Riva, Jobbins interrupted his search and Martin his argument, the Consul fought shy of the old corner in the café.
What the student, in Duveneck's and McFarlane's time saw going on round him in Munich was, as well as I could make out, chiefly balls and pageants. To this day I cannot help thinking of life in Munich as one long spectacle and dance. Duveneck, who could talk with calmness of his painting, was stirred to animation when he recalled the costumes he had invented for himself and his friends.
William M. Chase, both in his portraits and in his remarkable still-life studies, shows the fine German thoroughness rather than French brilliancy. The four canvases that hold the places of honor on all four walls show clearly the influence of Whistler. Gallery 87-Duveneck. Here are works by Frank Duveneck, who like Chase studied at Munich.
They said to him too: "Trot our your Tintorettos," and he led them up to a big, dingy canvas, and they said: "Trot out your next," and they went the rounds of them all, and they asked, "Where's your Duveneck?" and he said he had never heard of Duveneck, and they said, "Why, he's here!" and they left him hunting, and were back in their gondola in ten minutes, and they guessed they could do with Rubens!
This loggia opened widely to the air on two sides, so that the opalescent views were framed in oblong borders of stone that rested our rejoicing eyes. Under the stone shade, in the centre of the Raphaelesque distances, many mornings were passed ideally. Visitors often joined us here. Among them was Miss Elizabeth Boott, afterwards Mrs. Duveneck, who came with her little sketch-book.
Pupil of Robert Dunning, School of Boston Art Museum under Otto Grundmann and F. Crowninshield, and of Frank Duveneck. This artist paints figure subjects. Her "Saint Catherine" is in the Boston Museum of Fine Arts; "Spring Opening the Gate to Love" was in the collection of the late Mrs. S. D. Warren; "The Annunciation" is in the collection of Mrs. D. P. Kimball, Boston.
These five, in their order from the main entrance are: No. 87, devoted to the old-masterlike works of Frank Duveneck, who, more perhaps than any other American, shows the great manner of Velasquez, Rembrandt and Franz Hals, and to whom the jury has recommended that a special medal be given for his influence on American art; No. 88 filled with the admirable Impressionist landscapes of E. W. Redfield; 89 and 93, given up to the widely contrasted work of Edmund C. Tarbell and John H. Twachtman, each in his own fashion a master and enjoying a well-earned popularity, Twachtman's pictures in particular commanding almost as high prices as those of the men in Room 54; and No. 90, just off the Tarbell room, containing a small loan collection which very incompletely represents William Keith.
Duveneck, as I remember him then I have seen him but once since was large, fair, golden-haired, with long drooping golden moustache, of a type apt to suggest indolence and indifference.
In the Atlantic, as a makeshift, I called him Inglehart, the disguise under which he figures in one of Howells's novels. But why not call him boldly by his name when Inglehart is the thinnest and flimsiest of masks, as friends of his were quick to tell me, and Duveneck means so much more to all who know and all who do not know are not worth bothering about.
Miss Boott was one of those pupils of William M. Hunt to whom he imparted a wonderful artistic enthusiasm, energy, and devotion. After studying in Boston she studied in Paris under Duveneck whom she afterward married and under Couture. Her subjects were genre, still-life, and flowers, and were well considered.
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