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Updated: May 7, 2025
A portrait of Abraham Grapheus by the first-named is one of the most striking in the museum, and the self-portrait of the latter, smiling, is brilliant. Rombouts is a sort of Adrian Brouwer; his Cavaliers Playing at Cards recalls Caravaggio. Daniel Mytens's portrait of a lady is Rubenesque.
She would have been in great trouble had she supposed that this woman still loved Martin and needed him, but that, from what Martin had said, was obviously not so. No, it was all quite clear. They would escape together, out of this tangle of unnatural mysteries and warnings, and live happily for ever after in the country. As to Martin's self-portrait, that did not greatly distress her.
The blunt, strong features are strikingly like those of the authenticated portraits of the artist, but Dr. Karl Voll, Director of the Alt Pinakothek at Munich, declares that the idea of a "self-portrait," attractive as it is, can hardly in this case be upheld. Whoever the sitter may have been, the painting is an amazing example of dexterity of hand and acute observation.
The large central canvas should be seen from the Japanese room. The self-portrait is even more interesting. On this wall are pictures that offer a striking comparison of methods of painting. Gallery 3 is made especially interesting by the domination of one man, Maurice Denis, who is the leader among the "advanced" decorators of France.
As a foil for the idealist Hetman who is a sort of inverted Nietzsche; also a self-portrait in part of the dramatist there is the self-seeking scamp Launhart who succeeds with the very ideas which Hetman couldn't make viable, ideas in fact which brought about his disaster.
The self-portrait of the painter is a favourite, though the much-vaunted feather in the head-gear is stiff; perhaps feathers in Holland were stiff in those days. But the painters flock to this portrait and never tire of copying its noble silhouette. The two little studies of the painter's father and mother are characteristic. One, of the man, is lent by Dr. Bredius.
Panoramas would be a better title for these robust compositions. David Teniers's La Kermesse is the most important work he ever finished. It is in good preservation. Amsterdam has not its superior. There is an ordinary El Greco, a poor Goya, and a Ribera downstairs. The French art is not enlivening. Philip Champaigne's self-portrait is familiar: it has been reproduced frequently.
PARINI, a great modern poet of Italy, whom the Milanese point out to strangers as the glory of their city, lived in the same state of unrepining poverty. Mr. Hobhouse has given us this self-portrait of the poet: Me, non nato a percotere Le dure illustri porte, Nudo accorra, ma libero Il regno della morte. Naked, but free!
As for the President, he averred many years later that while he knew the unprepared state of the country, "he esteemed it necessary to throw forward the flag of the country, sure that the people would press onward and defend it." There is something at once humorous and pathetic in this self-portrait of Madison throwing forward the flag of his country and summoning his legions to follow on.
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