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Updated: May 29, 2025
I never saw so many examples of his except in Mr. John Quinn's collection who has the largest gathering in America of the work of this virile painter and draughtsman. At first the composition seems huddled, but the cross-rhythms and avoidance of facile pose are the reason for this impression. The work is magisterial.
The pastoral peace that hovers like a golden benison about Giorgione's Concert at the Louvre, the slow, widowed smile of the Mona Lisa, the cross-rhythms of Las Lanzas, most magnificent of battle-pieces, in the Velasquez Sala at the Prado, even the processional poplars of Hobbema at the National Gallery, or the clear cool daylight which filters through the window of the Dresden Vermeer these and others do not always give me the buoyant sense of self-liberation which great art should.
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