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It's old-fashioned, of course, coming to fathers first, but I thought you'd forgive that. I went to my own Dad, and he says if I settle down he'll see me through. He rather cottons to the idea, in fact. I told him about your Goya." "Oh!" said Soames, inexpressibly dry. "He rather cottons?" "Yes, sir; do you?" Soames smiled faintly.
With a sudden curiosity before going to the studio, he entered the parlor where Josephina received her callers. There, in the place of honor, he saw a large portrait of his wife, painted in Rome, a dainty woman with a lace mantilla, a black ruffled skirt and, in her hand, a tortoise-shell fan a veritable Goya.
Velasquez is never rhetorical, nor does he paint for the sake of making beautiful surfaces as often does Titian. His practice is not art for art as much as art for life. As a portraitist, Titian's is the only name to be coupled with that of Velasquez. He neither flattered his sitters, as did Van Dyck, nor mocked them like Goya.
An artist himself is justified from his own point of view in his concern with technique, for upon his technique depends his effectiveness of expression. His practice serves to keep alive the language and to develop its resources. Art in its concrete manifestations is an evolution. From Velasquez through Goya to Manet and Whistler is a line of inheritance.
He had all the pictorial gifts which make the glory of the masters: full, true, broad composition, colouring of irresistible power, blacks and greys which cannot be found elsewhere since Velasquez and Goya, and a profound knowledge of values.
He had said that he was tired of the "gay rags" of the eighteenth century, and his Strand of Portici shows a new line of departure. Edouard Manet made special appeal to Fortuny; Manet, who had derived from Goya, whose Spanish fond is undeniable.
He also made a series of plates about the French invasion, thirty-three prints of scenes in the bull-ring, and etchings of some of the works of Velasquez. Portraits of Charles IV. and his queen by Goya are in the museum at Madrid. Works of his are in the Louvre and in the National Gallery in London. His pictures sell for large prices.
He told her his age, twenty-four, his weight, ten stone eleven; his place of residence, not far away; described his sensations under fire, and what it felt like to be gassed; criticised the Juno, mentioned his own conception of that goddess; commented on the Goya copy, said Fleur was not too awfully like it; sketched in rapidly the condition of England; spoke of Monsieur Profond or whatever his name was as "an awful sport"; thought her father had some ripping pictures and some rather "dug-up"; hoped he might row down again and take her on the river because he was quite trustworthy; inquired her opinion of Tchekov, gave her his own; wished they could go to the Russian ballet together some time considered the name Fleur Forsyte simply topping; cursed his people for giving him the name of Michael on the top of Mont; outlined his father, and said that if she wanted a good book she should read "Job"; his father was rather like Job while Job still had land.
It's old-fashioned, of course, coming to fathers first, but I thought you'd forgive that. I went to my own Dad, and he says if I settle down he'll see me through. He rather cottons to the idea, in fact. I told him about your Goya." "Oh!" said Soames, inexpressibly dry. "He rather cottons?" "Yes, sir; do you?" Soames smiled faintly.
His wine harvesters, venders of sacred images, or that fascinating canvas My Three Cousins before these, also before the Promenade After the Bull-fight, you realise that by some miracle of nature the intensity of Goya and his sense of life, the charm of Velasquez and his sober dignity are recalled by the painting of a young Spanish artist who a decade ago was unknown. Nor is Zuloaga an eclectic.
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