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Updated: May 20, 2025
He even had the cheek to send the Trustees of the National Gallery a blank cheque asking them to fill it up as they wished whenever they were ready to part with TITIAN'S "Bacchus and Ariadne." Though he calls himself a patriot, directly the War is done he will make overtures to Germany. There is a Vermeer in Berlin on which he has set his heart, and another in Dresden.
There was the finest Delacroix of its size that Priam had ever met with; also a Vermeer that made it unnecessary to visit the Ryks Museum. And on the more distant wall, to which Mr. Oxford came last, in a place of marked honour, was an evening landscape of Volterra, a hill-town in Italy. The bolts of Priam's very soul started when he caught sight of that picture.
Now that he was once again at work upon his essay on Vermeer, he wanted to return, for a few days at least, to The Hague, to Dresden, to Brunswick. He was certain that a 'Toilet of Diana' which had been acquired by the Mauritshuis at the Goldschmidt sale as a Nicholas Maes was in reality a Vermeer.
But in Holland, Rembrandt and Frans Hals and Vermeer painted the barnyard of the merchant's house, and they painted his rather dowdy wife and his healthy but bumptious children and the ships which had brought him his wealth.
Let us enjoy our Monet without too many "mole runs." As De Kay pointed out, it was not necessary for Monet to go to London to see Constables. In the Louvre he could gaze upon them at leisure, also upon Bonington; not to mention the Venetians and such a Dutchman as Vermeer. It is therefore doubly interesting to study the Monets at Durand-Ruel's. There are twenty-seven, and they range as far back as 1872, Promenade
He was scarcely conscious of the fact that he wanted to show off before Hayward, but when he took him round the galleries he poured out to him all the revolutionary opinions which himself had so recently adopted. He took him to Manet's Olympia and said dramatically: "I would give all the old masters except Velasquez, Rembrandt, and Vermeer for that one picture." "Who was Vermeer?" asked Hayward.
To deny the authenticity of either of these compositions would be to fly into the face of Vermeer himself.
It is like classing Walter Pater with art critics. But as Vermeer had to express himself in some form, it is perhaps fortunate that the school had developed this kind of poetic portraiture, under Terburg, Metsu and others, to a point where a genius like Vermeer could use it as the vehicle of his fascinating self-revelations.
The most wonderful Rembrandt, Velasquez, Turner, Hobbema, Van Dyck, Raphael, Frans Hals, Romney, Gainsborough, Whistler, Corot, Mauve, Vermeer, Fragonard, Botticelli, and Titian reproductions followed in such rapid succession as fairly to daze the magazine readers. Four pictures were given in each number, and the faithfulness of the reproductions astonished even their owners.
Chardin worked from an accumulation of notes, but there are few sketches of his in existence, a sanguine or two. The paucity of the Velasquez sketches has piqued criticism. Like Velasquez, Chardin was of a reflective temperament, a slow workman and a patient corrector. The intimate charm of the Chardin interiors is not equalled even in the Vermeer canvases.
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